114 


h 

<  Co _ 


vt.  ;  ->  \ .  -i  >  :  >  -  t-r  :-. 

. 

;.‘  r  ■>  ,  >  (’  •  :rk  .  -  ‘ 


$  '  f  : 

■  k  .  ~  -  ■  ;  - 


1  '  ■  0  .:■■■■  '  -  V  4  '  '  V;  >■'■ 

■ 


1 

r> 

1 

FRENCH  PAINTINGS,  Etc 


— - H - - 

Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  French 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire  ;  in  Dollars , 
also  in  Francs  ( gold ).  May  \6th  and  i  ph,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Nos. 

Dollars, 

Francs, 

Nos. 

Dollars, 

Francs, 

Nos. 

Dollars, 

Francs. 

Nos. 

Dollars. 

Francs. 

1 

50 

225  ! 

40 

115 

518 

78 

80 

360 

117 

20 

90 

2 

425 

1913 

41 

60 

270 

79 

80 

360 

118 

475 

2138 

3 

90 

405 

42 

200 

900 

80 

260 

1170 

119 

1300 

5850 

4 

110 

495 

43 

325 

1463 

81 

170 

765 

120 

205 

925 

5 

150 

675' 

44 

150 

675 

82 

175 

788 

121 

210 

945  ' 

6 

65 

293 

45 

220 

990 

83 

100 

450 

122 

200 

900 

1 

35 

158 

46 

625 

2813 

84 

160 

72!) 

123 

925 

4163 

8 

9o0 

4050 

47 

425 

1913 

85 

175 

788 

124 

275 

1238 

9 

25 

112 

48 

325 

1463 

86 

180 

810 

125 

360 

1620 

10 

360 

1620 

49 

35 

158 

87 

645 

2903 

126 

90 

405 

11 

100 

450 

50 

100 

450 

88 

310 

1395 

127 

12 

450 

2025 

51 

200 

900 

89 

2000 

9000 

128 

25 

112 

13 

50 

225 

52 

325 

1463 

90 

100 

450 

129 

25 

112 

14 

30 

135 

53 

150 

675 

91 

270 

1215 

130 

150 

67  5 

15 

200 

900 

54 

400 

1800 

92 

110 

495 

!  131 

15 

68 

16 

30 

135 

55 

110 

495 

93 

60 

2 , 0 

132 

260 

1170 

IT 

600 

2700 

56 

60 

270 

94 

75 

338 

133 

70 

315 

18 

700 

3150 

57 

625 

2113 

95 

110 

495 

134 

85 

383 

19 

55 

248 

58 

1350 

6075 

96 

110 

495 

135 

25 

112 

20 

750 

3375 

59 

200 

900 

97 

110 

495 

136 

20 

9o 

21 

200 

900 

60 

85 

383 

98 

40 

180 

137 

35 

158 

22 

800 

3600 

61 

35 

158 

99 

110 

495 

138 

90 

405 

23 

50 

225 

62 

90 

405 

100 

425 

1913 

139 

25 

112 

24 

225 

1013 

63 

390 

1755 

101 

125 

563 

140 

35 

158 

25 

575 

25b8 

64 

750 

3315 

102 

140 

630 

141 

50 

225 

26 

60 

270 

65 

225 

1013 

103 

125 

563 

142 

7* 

34 

27 

300 

1350 

65* 

25 

112 

104 

50 

225 

143 

20 

90 

28 

45 

203 

66 

40 

180 

105 

40 

180 

144 

224 

102 

29 

110 

495 

67 

110 

495 

106 

110 

495 

145 

2275 

10238 

30 

150 

675 

68 

165 

743 

107 

150 

675 

146 

25 

112 

31 

800 

3600 

69 

70 

315 

108 

675 

3038 

147 

35 

158 

32 

275 

1248 

70 

110 

495 

109 

540 

2430 

148 

20 

90 

33 

175 

788 

71 

400 

1800 

i  110 

150 

675 

149 

350 

1 575 

34 

100 

450 

72 

50 

225 

111 

55 

248 

!  150 

25 

112 

35 

240 

1080 

73 

80 

360 

1  112 

25 

112 

151 

25 

112 

36 

650 

2925 

74 

275 

1248 

113 

loo 

450 

152 

75 

338 

37 

160 

720 

75 

190 

855 

114 

95 

428 

153 

150 

675 

38 

330 

1485 

76 

260 

1170 

115 

700 

3150 

. 

39 

40 

180 

77 

865 

116 

420 

1890  i 

.1 

\ 

•1 — ••••’-  — — ■■ — ~  ■  .. 


TOTAL  AMOUNTS.— Dollars  37,335.00.  Francs  168,098 


FRENCH  PAINTINGS,  Etc 


- - *-< - 

Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  French 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire  ;  in  Dollars , 
also  in  Francs  (gold).  May  16th  and  i  ~jth,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Nos. 

Dollars. 

Francs. 

Nos, 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

1 

50 

225 

40 

115 

518 

78 

80 

360 

117 

20 

90 

2 

425 

1913 

41 

60 

270 

79 

80 

360 

118 

475 

2138 

8 

90 

405 

42 

200 

900 

80 

260 

1170 

119 

1300 

5850 

4 

110 

495  : 

43 

325 

1463 

81 

170 

765 

120 

205 

925 

5 

150 

675 

44 

150 

675 

82 

175 

788 

121 

2lo 

945 

6 

65 

293 

45 

220 

990  , 

83 

100 

450 

122 

200 

900 

7 

35 

158 

46 

625 

2813 

84 

1 60 

720 

123 

925 

4163 

8 

9<>0 

4050 

47 

425 

1913 

85 

175 

788 

124 

275 

1238 

9 

25 

112 

48 

325 

1463 

86 

180 

810 

125 

360 

1620 

10 

360 

1620 

49 

35 

158 

87 

645 

2903 

126 

90 

405 

11 

100 

450 

50 

100 

450 

88 

310 

1395 

|  i  27 

12 

450 

2025 

51 

200 

900 

89 

2000 

9000 

128 

25 

112 

13 

50 

225 

52 

325 

1463 

90 

100 

450 

|  129 

25 

112 

14 

30 

135 

53 

150 

675 

91 

270 

1215 

130 

150 

675 

15 

200 

900 

54 

400 

1800 

92 

110 

495 

131 

15 

68 

10 

30 

135 

55 

110 

495 

93 

60 

2,0 

132 

260 

1170 

17 

600 

2700 

56 

60 

270 

94 

75 

338 

133 

70 

315 

18 

700 

3150 

57 

625 

2113 

95 

110 

495 

134 

85 

383 

19 

55 

248 

58 

1350 

6075 

96 

110 

495 

135 

25 

112 

20 

750 

3375 

59 

200 

900 

97 

110 

495 

|  136 

20 

90 

21 

200 

900 

60 

85 

383 

98 

40 

180 

137 

35 

158 

22 

800 

3600 

61 

35 

158 

99 

110 

495 

138 

90 

405 

23 

50 

225 

62 

90 

405 

100 

425 

1913 

139 

25 

112 

24 

225 

1013 

63 

390 

1755 

101 

125 

563 

1  140 

35 

158 

25 

575 

25h8 

64 

750 

3315 

102 

140 

630 

141 

50 

225 

26 

60 

270 

65 

225 

1013 

j  J  03 

125 

563 

142 

7* 

34 

27 

300 

1350 

65* 

25 

112 

I  104 

50 

225 

143 

20 

90 

28 

45 

203 

66 

40 

180 

J05 

40 

180 

144 

102 

29 

110 

495 

67 

110 

495 

I  106 

110 

495 

145 

2275 

10238 

30 

150 

675 

68 

165 

743 

107 

150 

675 

146 

25 

112 

31 

800 

3600 

69 

70 

315 

108 

675 

303o 

[147 

35 

158 

32 

275 

1248 

70 

110 

495 

109 

540 

2430 

148 

20 

90 

33 

175 

7»8 

71 

400 

1800 

i  110 

150 

675 

!  149 

350 

1575 

34 

100 

450 

72 

50 

225 

1  111 

55 

248 

150 

25 

112 

35 

240 

1080 

73 

80 

360 

112 

25 

112 

151 

25 

112 

36 

650 

2925 

74 

275 

1248 

113 

100 

450 

152 

75 

338 

37 

160 

720 

75 

190 

855 

114 

95 

428 

153 

150 

675 

38 

330 

1485 

76 

260 

1170 

115 

700 

3150 

39 

f 

40 

180 

77 

190 

855  | 

116 

420 

1890  ! 

TOTAL  AMOUNTS.— Dollars  37,335.00.  Francs  168,098. 


FRENCH  PAINTINGS,  Etc. 


- M 

Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  French 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire ;  in  Dollars , 
also  in  Francs  (gold).  May  1 6th  and  lyth,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Nos. 

Dollars. 

Francs, 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

1 

50 

225 

40 

115 

518 

78 

80 

360 

117 

20 

90 

2 

425 

1913 

41 

60 

270 

79 

80 

360 

118 

475 

2138 

3 

90 

405 

42 

200 

900 

80 

260 

1170 

119 

1300 

5850 

4 

110 

495 

43 

325 

1463 

81 

170 

765 

120 

205 

925 

5 

150 

675 

44 

150 

675 

82 

175 

788 

121 

210 

945 

6 

65 

293 

!  45 

220 

990 

83 

100 

450 

122 

200 

900 

f 7 

i 

35 

158 

46 

625 

2813 

84 

160 

720 

123 

925 

4163 

8 

900 

4050 

47 

425 

1913 

85 

175 

788 

124 

275 

1238 

9 

25 

112 

48 

325 

1463 

86 

180 

810 

125 

360 

1620 

10 

360 

1620 

49 

35 

158 

87 

645 

2903 

126 

90 

405 

11 

100 

450 

50 

100 

450 

88 

310 

1395 

I  127 

12 

450 

2025 

51 

200 

900 

89 

20(10 

9000 

128 

25 

112 

13 

50 

225 

52 

325 

1463 

90 

100 

450 

129 

25 

112 

14 

30 

135 

i  53 

150 

675 

91 

270 

1215 

j  130 

150 

675 

15 

200 

900 

54 

400 

1800 

92 

110 

495 

131 

15 

68 

10 

30 

135 

55 

110 

495 

93 

60 

2,0 

132 

260 

1170 

17 

600 

2700 

56 

60 

270 

94 

75 

338 

133 

70 

315 

18 

700 

3150 

57 

625 

21 L3 

95 

110 

495 

!  134 

85 

383 

19 

55 

248 

58 

1350 

6075 

96 

110 

495 

1 35 

25 

112 

20 

750 

3375 

59 

200 

900 

97 

111) 

495 

136 

20 

90 

21 

200 

900 

60 

85 

383 

98 

40 

180 

137 

35 

158 

22 

800 

3600 

61 

35 

158 

99 

110 

495 

138 

90 

405 

23 

50 

225 

62 

90 

405 

100 

425 

1913 

139 

25 

112 

24 

225 

1013 

63 

390 

1755 

101 

125 

563 

140 

35 

158 

25 

575 

2588 

64 

750 

331 5 

102 

140 

630 

1  141 

50 

225 

26 

60 

270 

65 

225 

1013 

103 

125 

563 

142 

34 

27 

300 

1350 

65* 

25 

112 

104 

50 

225 

143 

20 

90 

28 

45 

203 

66 

40 

180 

105 

40 

180 

144 

224 

102 

29 

110 

405 

67 

110 

495 

106 

110 

495 

145 

2275 

10238 

30 

150 

675 

68 

165 

743 

107 

150 

675 

146 

25 

112 

31 

800 

3600 

69 

70 

315 

108 

675 

3038 

1  147 

35 

158 

32 

275 

1248 

70 

110 

495 

109 

540 

2430 

148 

20 

90 

33 

175 

788 

71 

400 

1800 

110 

150 

675 

149 

350 

1575 

34 

100 

450 

72 

50 

225 

111 

55 

248 

150 

25 

112 

35 

240 

1080 

73 

80 

360 

112 

25 

112 

151 

25 

112 

36 

650 

2925 

74 

275 

1248 

113 

100 

450 

!  152 

75 

338 

37 

160 

720 

75 

190 

855 

114 

95 

428 

153 

150 

675 

38 

330 

1485 

76 

260 

1170 

115 

700 

3150 

39 

40 

180 

77 

190 

855 

116 

420 

1890 

TOTAL  AMOUNTS.— Dollars  37,353.00.  Francs  168,098. 


DUSSELDORF  PAINTINGS,  Etc. 


- H - 

Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  Dusseldorf 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire  ;  in  Dollars , 
also  in  Francs  (gold).  May  1 8,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Note. — Some  few  errors  occur  in  the  Catalogue  of  this  Collection , 
arising  from  names  incorrectly  given ,  and  a  few  numbers  duplicated. 


Nos, 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

161 

90 

105 

201 

195 

878 

241 

15 

203 

284 

5 

23 

162 

13 

58 

202 

20 

90 

215 

60 

270 

285 

65 

293 

163 

55 

218 

203 

100 

450 

216 

70 

315 

286 

15 

68 

161 

75 

338 

20l 

60 

270 

217 

65 

293  ! 

287 

IT. 50 

80 

165 

75 

338 

205 

625 

2813 

218 

20 

90 

288 

15 

68 

166 

10 

180 

206 

25 

112 

219 

40 

180 

289 

55 

218 

167 

25 

112 

207 

125 

563 

250 

30 

135 

290 

12.50 

56  N 

168 

25 

112 

208 

65 

293 

251 

40 

180 

291 

110 

630 

169 

60 

270 

209 

95 

428 

252 

80 

360 

292 

50 

225 

170 

30 

135 

210 

25 

112 

253 

210 

915 

293 

90 

405 

171 

55 

218 

211 

110 

495 

251 

60 

270 

291 

15 

203 

172 

100 

150 

212 

10 

180 

255 

15 

68 

295 

10 

45 

173 

15 

203 

213 

85 

383 

256 

100 

90 

296 

3 

13 

171 

100 

150 

211 

10 

45 

257 

200 

900 

297 

11 

50 

175 

20 

90 

215 

30 

135 

258 

5 

23 

298 

5 

22 

176 

15 

203 

216 

50 

225 

259 

30 

135 

1  299 

35 

158 

177 

75 

338 

217 

20 

90 

260 

25 

112 

178 

35 

158 

218 

55 

218 

261 

65 

293 

T7^  __  • 

179 

30 

135 

219 

35 

158 

262 

30 

135 

Lngravm 

gs. 

180 

250 

1125 

220 

70 

315 

1  263 

55 

218 

1 

3.50 

15 

181 

20 

90 

221 

35 

158 

1  264 

170 

795 

2 

1.25 

5 

182 

100 

150 

^22 

15 

68 

265 

45 

203 

3 

6 

27 

183 

35 

158 

223 

15 

68 

1  266 

45 

203 

4 

1.75 

7 

181 

55 

218 

225 

25 

112 

267 

55 

218 

5 

1.75 

7 

185 

30 

125 

227 

20 

90 

268 

150 

675 

6 

2 

9 

186 

35 

158 

228 

80 

360 

269 

55 

248 

7 

4.50 

20 

187 

30 

135 

229 

30 

135 

270 

85 

383 

8 

5 

18 

188 

105 

173 

230 

30 

135 

271 

30 

135 

9 

2.40 

10 

189 

25 

112 

231 

35 

158 

272  • 

10 

45 

10 

3.13 

11 

190 

10 

15 

232 

70 

315 

273 

30 

135 

11 

3.75 

16 

191 

10 

15 

231 

125 

563 

271 

100 

450 

12 

2.25 

10 

193 

30 

135 

235 

110 

495 

275 

110 

495 

13 

2 

9 

191 

30 

135 

236 

75 

338 

276 

125 

563 

11 

2 

9 

195 

20 

90 

238 

25 

112 

277 

40 

180 

15 

1 

1 

196 

85 

383 

239 

55 

248 

278 

45 

203 

17 

13 

58 

197 

70 

315 

210 

15 

68 

279 

65 

293 

18 

17 

77 

198 

25 

112 

211 

30 

135 

280 

35 

158 

19 

4.50 

20 

199 

25 

112 

212 

25 

112 

282 

60 

270 

200 

90 

105 

213 

65 

293 

283 

35 

658 

TOTAL  AMOUNTS.— Dollars,  7,978.00.  Francs,  33,900. 


DUSSELDORF  PAINTINGS,  Etc. 


- M 


Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  Dusseldorf 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire  ;  in  Dollars , 
also  in  Francs  (gold).  May  1 8,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Note. — Some  few  errors  occur  in  the  Catalogue  of  this  Collection , 
arising  from  names  incorrectly  given ,  and  a  few  numbers  duplicated. 


Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

Francs, 

Nos, 

Dollars. 

Francs. 

161 

90 

405 

'  201 

195 

878 

244 

45 

203 

284 

5 

23 

162 

13 

58 

202 

20 

90 

245 

60 

270 

285 

65 

293 

163 

55 

248 

203 

100 

450 

246 

70 

315 

286 

15 

68 

16-4 

75 

338 

204 

60 

270 

247 

65 

293 

287 

17.50 

80 

165 

75 

338 

205 

625 

2813 

i  248 

20 

90 

288 

15 

68 

166 

40 

180 

206 

25 

112 

249 

40 

180 

289 

55 

248 

167 

25 

112 

207 

125 

563 

250 

30 

135 

290 

12.50 

56 

168 

25 

112 

208 

65 

293 

251 

40 

180 

291 

140 

630 

169 

60 

270 

209 

95 

428 

252 

80 

360 

292 

50 

225 

170 

30 

135 

|  210 

25 

112 

253 

210 

945  j 

293 

90 

405 

171 

55 

248 

211 

110 

495 

254 

60 

270 

294 

45 

203 

172 

100 

450 

212 

40 

180 

255 

15 

68 

295 

10 

45 

173 

45 

203 

213 

85 

383 

256 

100 

90 

296 

3 

13 

174 

100 

450 

214 

10 

45 

257 

200 

9()0 

297 

11 

50 

175 

20 

90 

j  215 

30 

135 

258 

5 

23 

298 

5 

22 

176 

45 

203 

|  216 

50 

225 

259 

30 

135 

299 

35 

158 

177 

75 

338 

1  217 

20 

90 

260 

25 

112 

178 

35 

158 

!  218 

55 

248 

261 

65 

293 

% 

179 

30 

135 

1  219 

35 

158 

262 

30 

135 

Lngravm 

gs. 

180 

250 

1125 

220 

70 

315 

263 

55 

248 

1 

3.50 

15 

181 

20 

90 

221 

35 

158 

264 

170 

795  ! 

2 

1.25 

5 

182 

100 

450 

222 

15 

68 

265 

45 

203 

3 

6 

27 

183 

35 

158 

223 

15 

68 

266 

45 

203 

4 

1.75 

7 

184 

55 

248 

225 

25 

112 

267 

55 

248 

5 

1.75 

7 

185 

30 

125 

227 

20 

90 

268 

150 

675 

6 

2 

9 

186 

35 

158 

228 

80 

360 

269 

55 

248 

7 

4.50 

20 

187 

30 

135 

229 

30 

135 

270 

85 

383 

8 

5 

18 

188 

105 

473 

230 

30 

135 

271 

30 

135 

9 

2.40 

10 

189 

25 

112 

231 

35 

158 

272 

10 

45 

10 

3.13 

14 

190 

10 

45 

232 

70 

315 

273 

30 

135 

11 

3.75 

16 

191 

10 

45 

234 

125 

563 

274 

100 

450 

12 

2.25 

10 

193 

30 

135 

235 

110 

495 

275 

110 

495 

13 

2 

9 

194 

30 

135 

236 

75 

338 

276 

125 

563 

14 

2 

9 

195 

20 

90 

238 

25 

112 

277 

40 

180 

15 

1 

4 

196 

85 

383 

239 

55 

248 

278 

45 

203 

17 

13 

58 

197 

70 

315 

240 

15 

68 

279 

65 

293 

18 

17 

77 

198 

25 

112 

241 

30 

135 

280 

35 

158 

19 

4.50 

20 

199 

25 

112 

242 

25 

112 

282 

60 

270 

200 

90 

405 

243 

65 

293 

283 

35 

658  | 

TOTAL  WprjNTS Dollar-?.  7  978.00  • 


1  ia  i  OcJ  j  oOO. 


—  - 


/ 


DUSSELDORF  PAINTINGS,  Etc. 


- H - 

Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  Dusscldorf 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire  ;  in  Dollars , 
also  in  Francs  (gold).  May  1 8,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Note. — Some  few  errors  occur  in  the  Catalogue  of  this  Collection , 
arising  from  names  incorrectly  given ,  and  a  feiv  mmibers  duplicated. 


Nos. 

Dollars. 

Francs, 

Nos. 

Dollars. 

Francs. 

Nos, 

Dollars. 

Francs. 

Nos, 

Dollars. 

Francs, 

161 

90 

405 

201 

195 

878 

244 

45 

203 

!  284 

'  5 

23 

162 

13 

58 

202 

20 

90 

245 

60 

270 

285 

65 

293 

163 

55 

248 

208 

100 

450 

246 

70 

315 

286 

15 

68 

164 

75 

338 

2(>4 

60 

270 

247 

65 

293 

287 

IT. 50 

80 

165 

75 

338 

205 

.  625 

2813 

248 

20 

90 

288 

15 

68 

166 

40 

180 

206 

25 

112 

249 

40 

180 

289 

55 

248 

167 

25 

112 

207 

125 

563 

250 

30 

135 

290 

12,50 

56 

168 

25 

112 

208 

65 

293 

!  251 

40 

180 

291 

140 

630 

169 

60 

270 

209 

95 

428 

252 

80 

360 

292 

50 

225 

170 

30 

135 

210 

25 

112 

:  253 

210 

945 

293 

90 

405 

171 

55 

248 

211 

110 

495 

254 

60 

270 

294 

45 

203 

172 

100 

450 

212 

40 

180 

255 

15 

68 

295 

10 

45 

173 

45 

208 

213 

85 

383 

256 

100 

90 

296 

3 

13 

174 

100 

450 

214 

10 

45 

S  257 

200 

900  i 

297 

11 

50 

175 

20 

90 

215 

80 

135 

258 

5 

23 

298 

5 

22 

176 

45 

203 

216 

50 

225 

259 

30 

135. 

299 

35 

158 

177 

75 

388 

217 

20 

90 

260 

25 

■  112  j 

178 

35 

158 

218 

55 

248 

261 

65 

293 

179 

30 

135 

219 

35 

158 

262 

30 

135 

Engravings. 

180 

250 

1125 

220 

70 

315 

263 

55 

248 

1 

3.50 

15 

181 

20 

90 

221 

35 

158 

264 

170 

795 

2 

1.25 

5 

182 

100 

450 

222 

15 

68 

265 

45 

'203 

3 

6 

27 

183 

35 

158 

223 

15 

68 

266 

45 

203 

4 

1.75 

7 

184 

55 

248 

225 

25 

112 

267 

55 

248 

5 

1.75 

7 

185 

30 

125 

227 

20 

90 

268 

150 

675 

6 

2 

9 

186 

35 

158 

228 

80 

360 

269 

55 

248 

7 

4.50 

20 

187 

30 

135 

229 

30 

135 

270 

85 

383 

8 

5 

18 

188 

105 

473 

230 

30 

135 

271 

30 

135 

9 

2.40 

10 

189 

25 

112 

231 

35 

158 

272 

10 

45 

10 

3.13 

14 

190 

10 

45 

I  232 

70 

315 

273 

30 

135 

11 

3.75 

16 

191 

10 

45 

234 

125 

563 

274 

100 

450 

12 

2.25 

10 

193 

30 

135 

235 

110 

495 

275 

110 

495 

13 

2 

9 

194 

30 

135 

236 

75 

338 

276 

125 

563 

14 

2 

9 

195 

20 

90 

238 

25 

112 

277 

40 

180 

15 

1 

4 

196 

85 

383 

239 

55 

248 

278 

45 

203 

17 

13 

58 

197 

70 

315 

240 

15 

68 

279 

65 

293 

18 

17 

77 

198 

25 

112 

241 

30 

135 

280 

35 

158 

19 

4.50 

20 

199 

25 

112 

242 

25 

112 

282 

60 

270 

200 

90 

405 

243 

65 

293 

283 

35 

658 

TOTAL  AMOUNTS.— Dollars,  7,978.00.  Francs,  33,900. 


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D  raw  in  gs9  En  gra/vi  n  gs , 

AND  BRONZES, 

DONATED  BY  TIIE 

ARTISTS  OF  PARIS 


DUSSELDORF. 


H 

THE  WHOLE  TO  BE  SOLD  BY  AUCTION. , 

For  the  Belief  of  the  Chicago  Sufferers, 


By  the  MESSRS.  LEAVITT, 

AT  THE 

CLINTON  HALL  SALE  ROOMS, 

ON  TIIE  EVENINGS  OF 

Thursday,  Friday  and  Saturday,  May  16th,  17th,  18th. 


N  O  W  O  1ST  EXHIBITION 

AT  TIIE 

L  E  A  V  I  T  T  ART  ROOMS, 

No.  817  BROADWAY. 

Admission  25  Cts.  Season  Tickets,  Sfj>l. 

H 


GEO.  A.  LEAVITT  &  00,,  Clinton  Hall,  New  York,  1872. 


These  Paintings,  Drawings,  etc.,  are  now  on  Ex¬ 
hibition  at  the 

LEAVITT  ART  ROOMS,  SIT  BROADWAY. 

ADMISSION  TWENTY-FIVE  CENTS. 

And  will  be  sold  by  auction  on  the  evenings  of 
THURSDA  Y,  FRIDA  V  &  SA  TURD  A  Vt  MA  Y  16,  17,  18, 

AT  THE 

Clinton  Hall  Sale  Rooms,  Astor  Place, 

COMMENCING  AT  A  QUARTER  BEFORE  EIGHT  O'CLOCK. 


H 


SPECIAL. 

In  order  to  further  this  Sale,  and  to  promote  the  convenience  and 
comfort  of  buyers,  Seats  will  be  reserved  for  such  parties  as  shall  register 
their  names  and  address,  and  receive  a  Card  to  this  effect  from  the  Auction¬ 
eers.  Applications  should  be  made  early,  personally  or  by  mail.  This  is 
important. 


THE  FRENCH  COLLECTION. 


DONATIONS  OF  THE  ARTISTS  OF  PARIS, 


The  Works  of  Art  in  this  Collection  are  the  voluntary  and 
generous  donations  of  the  Artists  of  France  to  the  sufferers  by  the 
conflagration  at  Chicago.  They  number  127  paintings  in  oil,  24 
water-color,  pastel,  and  crayon  drawings,  and  two  bronzes.  It  is 
not  necessary  to  speak  here  of  their  great  value  ;  this  will  be 
apparent  at  once  to  all  visitors  ;  nor  of  the  fact  that  the  Collection 
contains  examples  of  the  greatest  living  Artists,  many  of  them 
comparatively  unknown  in  our  salerooms,  owing  to  the  difficulty 
of  obtaining  examples  of  their  works  in  Europe. 

But  it  may  be  interesting  to  put  on  record  here,  by  whose  agency 
and  in  what  manner  this  remarkable  Collection  was  brought  to¬ 
gether,  and  this  will  be  found,  fully  explained,  in  the  following 
correspondence  : 

The  movement  was  set  on  foot  by  Messrs.  Goupil  &  Co.,  who 
made  an  appeal  to  the  Artists  of  Paris  ;  in  response  to  which  a 
committee  was  formed  and  the  following  address  circulated  by 
them. 

ADDRESS  TO  THE  ARTISTS  OF  PARIS. 

“  Sir, — In  consequence  of  the  misfortunes,  without  number, 
which  have  fallen  upon  France,  the  citizens  of  the  Great  American 
Republic  have  given  to  us  expression  of  their  most  lively  sym¬ 
pathy  and  help  without  measure. 

‘'A  misfortune  beyond  example  has  destroyed  a  great  portion 
of  the  City  of  Chicago,  causing  loss  immeasurable  to  her  people. 

‘‘On  all  sides  Committees  and  Commissions  have  been  formed 
to  come  to  the  aid  of  the  unhappy  city. 

“  It  seems  to  us  that  the  Artists  of  France  should  take  advan- 


3 


tage  of  this  occasion  to  testify  to  the  people  of  America  how  fully 
they  recognize  the  sympathy,  which  they,  in  common  with  all 
Frenchmen,  have  received  from  them. 

“Hence  the  formation  of  the  Committee  which  now  applies  to 
you. 

“Messrs.  Goupil  &  Co.  have  placed  themselves  at  our  dispo¬ 
sition,  and  promised  to  give  all  their  best  attention  to  this  work. 
They  will  receive,  at  No.  9  Rue  Chaptal,  all  donations  of  Works 
of  Art  destined  to  be  sold  for  the  benefit  of  Chicago. 

“We  think  that  the  exposition  and  sale  of  the  donations  ought 
to  take  place  in  New  York,  as  it  is  probable  that  the  result  there 
would  be  more  satisfactory  than  if  the  works  were  sold  in  Paris. 

“We,  therefore,  hope  that  you  will  associate  yourself  with  this 
work,  and  give  expression  to  your  sympathy  by  a  donation.” 

MEMBERS  OF  COMMITTEE. 

President:  J.  C.  Meissonier,  Membre  de  l’lnstitut. 

Vice-President :  V.  P.  Guillaume,  Membre  de  lYnsti- 
tut,  Directuer  de  l'Ecole  des  Beaux  Arts. 


MEMBRES  : 


Baudry,  Membre  de  l’lnstitut. 
Bouguereau. 

G.  Boulanger. 

J.  A.  Breton. 

G.  Brion. 

A.  Cabanel,  Membre  de  l'lns. 
E.  Dubufe. 


E.  Fromentin. 

Ch.  Garnier. 

J.  L.  Gerome,  Membre  de  l'lns. 

t 

Ch.  Talabert. 

Pils. 

PUYIS  DE  ClIAVANNES. 

G.  VlBERT. 


Secretaire:  A.  Goupil. 


In  response  to  this  appeal  the  donations  were  given,  which 
form  this  unique  and  valuable  collection.  The  works  were  ex¬ 
hibited  in  Paris  prior  to  their  shipment  here,  where  they  were 
visited  by  many  thousands,  and  received  the  encomiums  of  the 
press  and  connoisseurs. 

Whilst  the  collection  was  being  formed  in  Paris,  the  Committee 
in  Paris  wrote  to  the  gentlemen  hereafter  named,  asking 
them  to  form  themselves  into  a  committee  to  carry  out  the  scheme 
of  exhibition  and  sale  in  New  York.  This  committee  was 


4 


promptly  formed  at  a  meeting  held  at  the  residence  of  the  Hon. 
E.  I).  Morgan,  and  was  constituted  as  follows: 


IIon.  E.  1).  Morgan,  Chairman. 

J.  H.  Sherwood,  E 3Q. ,  Treasurer. 
R.  L.  Cutting,  Esq.,  Secretary . 


Beecher,  Henry  Ward. 
Butler,  T.  R. 

Church,  F.  E. 

Dinsmoke,  W.  B. 

(tIBSON,  H.  C. 

Healy,  Aaron. 

IIoe,  R. 

Huntington,  1). 
Johnston,  J.  Taylor. 


Knoedler,  M. 
Kensett,  J.  F. 
Mathews,  Nathan. 
Scott,  Thomas  A. 
Stuart,  R.  L. 
Stewart,  A.  T. 
Vanderbilt,  W.  11. 
Walters,  W.  T. 
White,  A. 


The  collection  completed,  the  works  of  art  were  shipped  at 
Havre,  on  board  of  the  St.  Laurent,  and  carried  to  this  port  free 
of  charge,  by  the  French  Steamship  Line.  In  advance  of  their 
arrival,  the  following  letter,  from  the  Committee  in  Paris  to  that 
in  this  city,  was  received : 


“Paris,  March  29th,  1872. 

“  E.  1).  Morgan,  Esq.,  Sir: — We  have  the  honor  to  acknowledge 
receipt  of  your  letter,  addressed  tons  on  the  29th  of  February,  and 
announcing  the  formation  of  your  committee.  We  thank  you  for 
accepting  the  commission  to  realize  the  value  of  our  donations  in 
aid  of  the  sufferers  of  Chicago. 

‘‘The  high  standing  and  influence  of  your  committee  cannot 
fail  to  contribute,  largely,  to  give  to  our  donation  even  more 
weight  than  it  merits. 

‘“We  now  send  you  by  steamer,  from  Havre,  by  to-day's 
steamer,  fifteen  cases,  containing  the  paintings,  drawings  and 
bronzes  which  we  have  succeeded  in  bringing  together. 

“It  now  remains  with  you,  gentlemen,  to  distribute  the  proceeds 
of  the  sale  of  this  collection  in  the  manner  your  best  judgment 
shall  decide.  It  is  our  desire  that  there  shall  be  no  distinction 
made  as  to  nationality  in  the  distribution;  as  in  our  eyes  all  the 
unfortunate  have  the  same  claims  on  Christian  charity. 

AVc  beg  to  enclose  a  complete  catalogue  of  the  objects  for¬ 
warded, 


5 


“  We  have  obtained  free  transportation  of  the  eases  from  the 
Transatlantic  Steamship  Company.  .  .  . 

“Receive,  Dear  Sir,  and  convey  to  the  members  of  your  Com¬ 
mittee,  assurances  of  our  esteem  and  consideration. 

“A.  Goupil,  Secretary. 
“Hon.  E.  D.  Morgan,  New  York  City .” 


CONTRIBUTIONS 


OF  THE 


F  REN  C  H  AR  T  ISTS. 


CATALOGUE. 

- M - - 


I 

ALLATN  (MME.  PAULINE),  Paris. 

Cherries  Ripe. 

The  pleasing  contribution  of  a  lady  artist,  much  esteemed  for  her 
painting  of  still  life,  fruit  and  flowers. 


2 

ANTIGNA  (JEAN  PIERRE  ALEXANDER), 

Paris. 

Medals ,  1847,  ’48,  ’51,  ’55  ;  Chevalier  of  the  Legion  of  Honor,  1861. 


The  Young  Peasant. 

Posed  with  charming  grace  ;  quiet,  yet  attractive  in  color  ;  pleasing 
to  the  last  degree  in  its  freshness  and  simplicity  of  treatment,  this 
painting  will  be  accepted  as  one  of  the  finest  specimens  of  the 
painter  ever  exhibited  with  us.  The  bright,  clear  atmosphere,  and 
the  suggestion  of  “  the  breeze  that  wooes  the  morning,”  are  admir¬ 
able  ;  and  there  is  a  sweet  thoughtfulness  in  the  face  of  this  nut- 
brown  maid,  exceedingly  attractive.  Lite  Jules  Breton,  Antigna 
teaches  us  the  poetry  of  this  peasant  life  in  both  its  sunshine  and 
its  shadow. 


9 


3 


Paris. 


v.. 


ARTZ  (ADOLPHE), 


Morning  Coffee. 

A  very  pleasing  bit  of  out-door  life,  skillfully  painted,  and  suggestive 
of  that  luxury — a  cup  of  cafi  a  la  frantais. 


4 

AUFRAY  (JOSEPH). 

»  , 

Pussy’s  Breakfast. 

Aufray  has  not  often  been  more  happy  in  his  subject  than  he  is  in  this 
charming  little  passage  of  every-day  history  ;  for  pussies  by  the 
thousand  are  feasted  in  this  compulsory  way  every  morning  that 
the  sun  rises.  The  absorbing  interest  of  the  little  ones  in  the 
duty  which  they  perform,  is  very  pleasantly  suggested,  in  the  na¬ 
turalness  of  the  pose  of  the  figures  as  in  the  thoughtful  little  faces 
of  the  pair.  There  is  agreeable  sparkle,  too,  in  the  color  which 
catches  the  light,  and  to  which  the  quiet  warm  gray  of  the  interior 
lends  much  value. 


5 

BACON  (HENRY),  •  Paris.  Born  at 

Boston,  U.  S. 

H  0  Taking  Toll. 

'  i  t 

Mr.  Bacon  is  well  known  among  us,  as  a  young  artist  who  has  done 
his  country  honor,  while  pursuing  his  art  in  Paris.  He  was  a 
pupil  of  Edouard  Frere  ;  but  not  a  mere  imitator,  for  his  works  are 
ever  fresh  in  subject,  and  have  a  vi.or  and  abandon  of  color  pecu¬ 
liarly  his  own.  This  “Taking  Toll”  represents,  him  well,  and 
suggests  in  a  pleasant  and  simple  way,  the  rare  delights  of  travel¬ 
ling  in  New  England  when  the  coal-scuttle  bonnet  was  in  fash¬ 
ion,  and  railroads  neither  so  plenty  nor  so  popular.  There  is  a 
capital  suggestion  of  motion  in  the  figures,  as  of  a  bracing  appe¬ 
tizing  morning  for  a  drive  in  the  atmosphere,  and  the  color  is  very 
pleasing,  both  of  sky  and  figures.  It  is  to  be  imped  that  the 
bridge-keeper  won’t  rebel  against  this  invasion  of  his  rights,  and 
that  there  are  other  bridges  to  cross  before  this  duet  is  finished, 

10 


Paris. 


6 

BAIRD  (W.  BARKER), 

Spring  Time. 

A  pleasant  out  door  study,  strong  and  skillfully  painted  by  a  Scotch 
artist,  studying  at  Paris. 


7 

BARILLOT  (LEON),  Paris. 

Boats  on  Shore. 

A  vigorous  sketch. 


8 

BAUGNIET  (CHARLES),  Paris. 

Sorrow  and  Sympathy. 

This  artist,  always  eminently  successful  in  his  stories  of  domestic  life, 
has  excelled  himself  in  this  touching  picture.  It  will,  of  course, 
be  apparent  that  in  the  figure  in  mourning  the  stricken  city  of 
Chicago  is  personified  ;  and  in  the  other,  the  tender  sympathy 
awakened  by  her  great  misfortune.  If  not  so  highly  finished  as 
others  of  Baugniet’s  works,  this  picture  is  not  the  loser  thereby, 
for  it  has  the  breadth  of  treatment  and  freedom  of  manner  much 
more  valuable.  The  grief  of  the  mourner,  is  well  expressed  in  the 
sweet,  sad  face,  low’  bent  in  sorrow'  ;  as  are  also  sympathy  and 
protection  in  the  face  of  her  who,  while  she  encircles  her  friend 
with  protecting  arm,  looks  out  upon  the  devastation  of  the  city. 


9 

BELLEL  (JEAN  JOSEPH). 

Medal',  1848  ;  Chevalier  of  the  Legion  of  Honor. 

In  the  East. 

A  highly  picturesque  scene,  impressive  by  the  grandeur  of  its  forms, 
aud  its  rich,  but  sombre  color.  The  figure  of  the  mounted  Arab 
as  he  moves  along  the  rocky  pass,  suggests  rough  travel,  as  the 
caves  and  recesses  of  the  scene  awaken  thoughts  of  danger  to  the 

wanderer. 


11 


IO 


BERANGER  (JEAN  BAPTISTE-ANTOINE 
EMILE),  Paris, 

Medals,  ’46  and  ’48. 

The  Oyster. 

An  exquisitely  fiuished  little  gem,  in  which  we  recognize  the  enjoy¬ 
ments  that  sometimes  wait  on  waiting  maids.  The  young  woman 
knows  the  value  of  an  oyster  and  where  to  put  it.  Nor  could  it 
find  a  daintier  fate  than  that  in  store  for  it.  In  the  figure  on  the 
panel  there  is  clever  suggestion  that  late  suppers  are  congenial 
places  to  his  Majesty — with  the  tail.  The  grace  of  pose,  delicate 
color  in  both  drapery  and  fiesli,  and  general  brilliancy  of  this 
morsel  of  art  are  not  excelled  by  anything  in  the  collection. 


I  I 

BERCHERE  (NARCISSE). 

Medals,  1859,  ’61  and  ’64. 

Souvenir  of  the  East. 

A  masterly  sketch  by  an  artist  highly  esteemed  in  France  for  his 
treatment  of  Eastern  subjects. 


I  2 

BERNE-BELLECOUR  (ETIENNE),  Paris. 

Medal,  1869. 


The  Latest  Fashion  Gossip. 

In  this  picture  the  quaint  humor  and  purely  original  treatment  of 
the  artist  are  well  expressed.  We  can  readily  understand  a  lacquey 
so  exquisite  in  his  make-up  being  deeply  interested  in  the  latest 
styles.  The  light  is  admirably  managed,  and  it  seems  as  if  the 
artist  so  posed  his  figures  that  lie  might  gratify  his  love  for  fun  bv 
painting  that  droll,  bird-like  shadow  on  the  tapestry. 

12 


Paris. 


13 

BLANC  (PAUL  JOSEPH), 

Prize  of  Rome ,  1867. 

At  the  Fountain. 


A  pleasing  picture  of  a  Roman  girl  idling  at  tlie  spring,  quiet  yet 
very  attractive  in  color. 


14 


BLOIS  DE  (F.  B.),  Paris. 

Casa  de  Orcanieus. 

A  vigorous  and  brilliant  out  door  study  of  an  Italian  ruin. 


15 

BOLDINT.  Paris 


Waiting. 

A  remarkably  vigorous  little  gem,  brilliant  in  color,  and  in  every 
way  skillfully  painted.  The  impatience  of  the  lady,  who  waits 
the  appearance  of  her  lord  and  master,  is  pleasantly  suggested  by 
her  play  with  the  parasol,  and  the  somewhat  weary  pose  of  her 
figure  and  expression  of  her  face.  The  presence  of  the  cat — the 
personification  of  patience — is  evidently  lost  on  her. 


l6 

BOMBLED  (CHARLES),  Paris.  Born  at 

Amsterdam. 

Chasing  the  Deer. 


A  spirited  picture,  suggesting  the  closing  scene  of  a  deer  hunt,  and 
the  manner  in  which  the  chase  was  pursued  by  Northern  races  in 
the  days  of  primitive  hunting  weapons. 


13 


17 


BOUGUEREAU  (WILLIAM-ADOLPHE), 

Paris. 


Prize  of  Rome ,  1850  ;  Medals,  1 855,  1857 ;  Gross  of  the  Legion  of 
Honor,  1859,  and  Medal,  1867. 


The  Happy  Wife. 

A  fine  specimen  of  this  great  artist,  much  more  desirable  than  many 
of  his  more  highly-finished  pictures.  The  color  is  pure  and  trans¬ 
parent,  and  the  face  admirably  expressive  of  the  trusting  affection 
of  the  young  peasant  wife  who  listens  to  the  pleasant  words  of  a 
loving  husband. 


18 

BOULANGER  (GUSTAVE- ADOLPHE), 

Paris. 

Prize  of  Rome ,  1849;  Medals,  1857,  ’59,  ’63;  Chevalier  of  Legion 

of  Honor ,  1865. 

^  |  The  Arabs  Friends. 

This  artist,  already  a  great  favorite  in  this  country,  is  one  of  the 
most  successful  of  the  pupils  of  Paul  Delaroclie.  Ilis  specialty  is 
Eastern  subjects,  in  which  he  is  best  able  to  gratify  the  love  of 
that  brilliant  color  for  which  his  works  are  so  much  esteemed. 
In  this  picture  we  have  the  return  of  the  Arab  chief  suggested, 
and  are  reminded  by  it  that  it  is  the  w'ife  of  the  Arab  to  whom  he 
entrusts  the  safe-keeping  of  his  horse — his  other  self.  There  is 
probably  no  finer  example  of  Boulanger’s  sentiment,  wealth  of 
color  and  graceful  composition,  than  this  noble  gift  of  his.  The 
pose  of  the  woman  is  grace  itself,  and  the  dreamy  expression  of  her 
face  awakens  sympathy  at  a  glance.  How  skillfully,  also,  is  the 
drapery  arranged,  and  how  superb  in  color  the  garniture  of  the 
horse  ;  the  group  being  rendered  still  more  brilliant  by  the  warm, 
shadowy  background  of  foliage,  and  the  cool,  gray  stone  of  the 
fountain. 


14 


19 


BOURGES  (Mlle.  LOUISE),  Paris. 

In  the  Country. 


Miss  Bourges  is  recognized  as  one  of  the  most  successful  of  the  pupils 
of  Edouard  Frdre,  without  being  a  copyist  of  him  in  either  subject, 
manner  of  treatment,  or  color.  She  affects  most  the  painting  of  chil 
dren  out  doors,  and  thus  secures  that  brilliancy  of  color  which  she 
likes,  and  of  which  this  charming  little  picture  is  a  unique  exam¬ 
ple,  The  landscape,  too,  is  also  painted  with  nice  feeling  and 
effective  use  of  light  and  shadow.  There  is  great  delicacy  and 
sweetness  in  the  faces  of  these  children — the  actors  in  this  happy 
scene — and  an  easy  grace  and  naturalness  in  the  action  of  the  one 
and  in  the  repose  of  the  other. 


20 

BOUTIBONNE  (CHAS.  EDOUARD),  Paris. 

Born  in  Hungary. 

Medal ,  1847. 


Industry  and  Ease. 


An  elegant  interior,  with  a  figure  surpassingly  graceful  in  form  and 
expression — an  amiable  happy  face,  suggestive  of  true  womanly 
gentleness  of  disposition.  But  more  than  in  the  pleasing  nature 
of  his  composition,  the  great  ability  of  the  artist  is  to  be  recog¬ 
nized  in  the  delightful  beauty  and  harmony  of  his  color,  and  in 
the  finish  of  his  accessories,  so  suggestive  of  the  quality  of  the 
things  they  represent — the  texture  of  the  tapestry,  the  velvet  of 
the  lady’s  dress,  the  delicate  purity  of  the  flesh  painting,  and  the 
careful  rendering  throughout  of  the  minutest  detail. 


15 


BREST  (FABIUS), 


Paris. 


2  I 


Medal,  1864. 


Scene  in  Turkey. 


A  highly  interesting  picture,  and  painted  in  a  broad  and  masterly 
manner.  But  few  artists  have  cared  to  paint  the  common-place 
life,  either  in-door  or  on  the  street,  of  the  Turkish  people  for  us  ; 
the  many  preferring  to  give  m  the  ideal  rather  t  .an  the  real.  But 
here  we  have  the  life  which  parallels  that  which  is  familiar  to  us 
here — the  common  people  doing  the  common  things  of  every-day 
life ;  and  imagination  is  not  slow  to  suggest,  in  the  figures  of  this 
quaint  street,  the  heroes  and  heroines  of  the  Eastern  stories,  ever 
attractive  to  old  and  young. 


22 

BRETON  (JULES  ADOLPHE),  Paris. 

Medals ,  1855,  ’57,  ’59,  ’61,  ’67  ;  Chevalier  and  Officer  of  the 
Legion  of  Honor. 

Women  of  Brittany  at  Church. 


In  this  picture  of  the -penitent  the  power  of  this  great  artist  is  ad¬ 
mirably  expressed.  It  is  the  custom  of  the  people  of  Bretagne,  as 
of  those  of  other  Catholic  countries,  to  burn  tapers  in  honor  of  the 
Virgin  or  some  saint  whom  it  is  desirous  to  propitiate.  Thus, 
here  we  have  the  peasant  woman  telling  her  beads  and  burning 
her  light  :  her  face  wonderfully  expressive  of  the  earnestness  of 
her  devotion.  The  distant  lights  and  suggested  forms  tell  up 
that  the  ceremony  of  the  Mass  is  going  on  in  the  chapel.  A  sol¬ 
emn  religious  feeling  pervades  this  picture,  which  is  heightened 
rather  than  lessened  by  the  severity  and  somewhat  harsh  features 
oi  the  toiling  peasant  of  Bretagne. 


\ 


10 


Paris. 


23 

BRIDGMAN  (FREDERIC  A.), 

“  A  Corner  in  my  Studio.” 

Mr.  Bridgman,  an  American  artist,  studying  in  Paris,  is  rapidly  ac¬ 
quiring  an  enviable  reputation,  both  at  home  and  abroad.  Several 
important  pictures  by  him  are  owned  in  Brooklyn  by  connoisseurs 
who  paid  high  prices  for  them.  This  brilliant  little  composition 
suggests  his  strength  and  vigor  as  a  colorist,  and  provides  us  with 
a  peep  at  his  studio  wealth,  in  the  rich  old  hangings  and  antiques 
which  he  introduces  in  his  pictures.  The  dog,  it  may  be  presumed, 
is  modern — thereby,  however,  hangs  a  tale — he  is  a  famous  wag, 
they  say. 


24 

BRILLOUIN  (LOUIS  GEORGES). 

Medals ,  1865  and  1869. 


The  Morning  Stroll. 

A  characteristic  sketch  of  this  brilliant  colorist.  There  is  nice  sug¬ 
gestion  of  the  pleasant  stroll,  in  the  pose  of  the  figure,  and  of  en¬ 
joyment  of  the  scene  and  of  the  smoke  in  the  face.  The  color  is 
peculiar  and  attractive.  The  costume  is  of  the  time  of  Louis  XV. 


2s 

BRION  (GUSTAVE),  Paris. 

Medals ,  1853,  ’59,  ’61,  ’63  ;  Chevaliei'  of  the  Legion  of  Honor ,  1867  / 
Medal ,  1867  ;  Medal  of  Honor ,  1868. 

At  the  Outpost. 

It  is  not  often  that  an  opportunity  offers  itself  to  secure  a  picture 
from  this  great  artist’s  easel  of  such  moderate  size  as  this  ;  and  pos¬ 
sessing  all  the  fine  qualities  of  his  work.  Herein  is  an  admirable 
expression  of  the  anxious  and  important  nature  of  duty  at  the  out¬ 
post.  The  pose  of  the  figure — the  sudden  rest,  the  uplifted  hand 
and  the  thoughtful  listening  face  tell  the  whole  story  at  a  glance. 

,  The  picture  is  noticeable  also  for  the  low  toned  rich  color  of  the 

drapery,  and  the  subtle  atmospheric  effect,  by  which  the  feeling 
'  of  loneliness  and  suggestion  of  danger  is  much  heightened. 

17 

[1 

>» 


ST? 


26 

BROWN  (JOHN  LEWIS),  Paris. 

Medals,  1865,  ’66  and  67. 

The  Amazon. 

This  highly  effective  and  brilliant  little  example  of  an  artist  of  first 
rank,  is  presented  to  the  charity  hy  P.  L.  Everard,  Esq.,  a  con 
nisseur  who  thus  at  once  shows  liis  sympathy  and  confirms  tlie 
good  opinion  of  his  judgment.  For  this  is  indeed  a  most  pleasing 
piece  of  color  and  composition,  with  the  light  and  shadow  managed 
with  great  breadth  and  skill,  and  the  story  of  the  pleasant  relations 
between  the  mistress  and  her  pets  most  pleasantly  told. 

27 

BROWN  (JOHN  LEWIS),  Paris. 

Medals,  1865,  ’66,  ’67. 

Washington. 

A  nohlo  picture,  in  the  broad  and  vigorous  manner  of  the  artist,  who 
holds  the  highest  rank  as  a  painter  of  esquestrian  subjects. 
Washington  is  represented  on  a  prospecting  tour,  followed  hy  his 
staff.  The  pose  of  horse  and  horseman,  as  for  a  moment  they 
have  come  to  rest,  is  statuesque  in  its  grace  of  line ;  and  the  ex 
pression  of  the  face  of  the  great  General  suggests  the  earnestness 
and  seriousness  of  his  character.  This  is,  indeed,  a  generous  con¬ 
tribution,  and  one  which  cannot  fail  to  lend  additional  value  to 
such  works  of  this  artist  as  may  reach  us  in  the  future. 

28 


BRUN  (CHARLES),  Paris. 

Medal,  1868. 

“  Woman  of  Constantinople.” 

An  excellent  illustration  of  the  masterly  touch  of  this  great  artist, 
and  a  very  interesting  composition  ;  telling  us  in  a  very  expressive 
manner,  the  primitive  ways  yet  common  with  the  humbler  classes  of 
the  Eastern  races.  There  is  most  pleasing  motherly  solicitude  ex¬ 
pressed  in  the  up  turned  face  of  the  woman,  who  soothes  her  babe 
and  at  the  same  time  prepares  the  simple  meal. 

18 


29 

BURGERS  (HENRY),  Paris.  Student  of 

the  Academy  of  Fine  Arts,  Amsterdam. 

Study  of  a  Head. 

A  strong  and  able  study,  low  toned  and  rich  in  color. 

30 

BUTIN  (ULYSSE  LOUIS  AUGUSTE),  Paris. 

The  King’s  Fool. 

This  humorous  and  ably  painted  picture  is  the  donation  of  Wm.  H. 
Stewart,  Esq.  The  Court  Jester  has  ever  been  a  favorite  subject 
of  the  artist  and  the  writer.  That  this  painting  by  Butin  gives 
admirable  expression  to  the  peculiarities  associated  with  the  char¬ 
acter,  can  be  readily  recognized — those  peculiarities  wherein  drol¬ 
lery  and  intelligence,  combined  with  cunning,  are  most  satisfac¬ 
torily  expressed.  The  pose  of  the  figure,  too,  is  fun-provoking, 
and  in  the  presence  of  the  pet  parrot  and  the  hound,  we  have  ex¬ 
pression  of  the  amiability  of  disposition  for  which  the  Fool  was 
often  distinguished.  In  color  this  work  will  be  accepted  as  emi¬ 
nently  pleasing  ;  for  it  is  brilliant,  without  recourse  to  the  exag¬ 
geration  with  which  kindred  subjects  are  often  treated. 

31 

CABANEL  (ALEXANDER),  Paris. 

Prize  of  Rome,  1845/  Medals,  1852,  ’55;  Chevalier  of  the  Legion 
of  Honor,  1855 ;  Member  of  the  Institute,  18C3 ;  Officer  of  the 
Legion  of  Honor,  1 864  ;  Medals  of  Honor ,  1865  and  ’67. 

An  Italian  Girl. 

Cabanel  holds  first  rank  amongst  the  greatest  painters  of  our  day  ; 
and  it  is  but  rarely  now  that  an  opportunity  is  found  to  secure  a 
specimen  of  his  work ;  when  such  an  opportunity  does  offer  the 
price  attained  for  a  fine  example  is  enormous.  This  finely  mod¬ 
elled  bust,  with  the  classic  head  and  face,  expresses  the  power  of 
the  great  master  well.  For  it  gives  us  not  only  the  fine  qualities 
of  his  work  as  an  artist — truthfulness  of  flesh  texture  and  subtle 
modelling — but  that  intensity  of  expression  which  he  secures  so 
admirably.  It  is  only  necessary  to  call  to  mind  the  “  Desdemona” 
by  Cabanel,  lately  exhibited  and  sold  at  Goupil’s,  to  have  before  us 
such  another  expression  of  a  bouI  behind  the  canvas,  as  this 
beautiful  and  thoughtful  face  suggests. 


19 


32 

CASTIGLIONE  (JOSEPH),  Paris. 

The  First  Lesson. 

A  very  attractive  specimen  of  an  artist  wlio  treats  tliese  Spanish 
subjects  with  much  grace  and  feeling.  The  patient  attitude  of  the 
Padre,  the  attentive  pose  of  the  child,  and  the  position  of  the 
mother,  so  expressive  of  her  admiration  and  delight,  give  us  a 
very  pleasing  and  highly  picturesque  group ;  much  heightened  in 
interest  by  the  charms  of  form  and  color  in  the  drapery  and  the 
happy  arrangement  of  the  background. 


33 

CLAUDE  (JEAN  MAXIME),  Paris. 

Medals,  1866  and  ’69. 

Huntsman  and  Hounds. 

A  very  beautiful  low-toned  picture,  telling  its  story  of  early  morning 
in  the  woods  and  of  the  preparation  for  the  day’s  sport,  with  con¬ 
summate  skill.  The  dogs  are  drawn  with  the  ability  of  a  master 
in  his  specialty — of  one  who  has  made  a  life  study  of  such  work. 
The  patience  of  some,  and  the  expectancy  and  impatience  of  others, 
are  as  well  expressed  by  the  varied  positions  of  the  animals  as  the  lat¬ 
ter  emotion  is  on  the  face  of  the  huntsman,  who  is  evidently  anxious 
for  the  coming  of  the  sportsmen.  The  central  point  of  interest  is 
well  secured  in  the  scarlet  jacket  and  burnished  horn  of  the  hunts¬ 
man,  opposed  to  the  sombre  green  of  the  foliage,  which  is  also 
painted  with  great  fidelity. 


34 


COESSIN  DE  LA  FOSSE  (CHAS.  ALEXR.), 

Paris. 

Autumn  in  the  Woods. 


0 


A  remarkably  vigorous  expression  of  late  autumn  in  the  woods. 
Nothing  could  be  more  satisfactory  than  the  way  in  which  the 
nearer  foliage  and  almost  naked  stems  are  painted  ;  and  there  is 
fine  sentiment  in  the  introduction  of  the  dark,  bare  limbs  of  the 
tree  against  the  cold,  grey  sky.  The  crispy  looseness  of  the  dead 
leaf  is  very  skillfully  suggested,  and  the  figures  of  the  sportsman 
and  his  dog,  happily  introduced,  are  in  perfect  keeping  with  the 
scene. 


20 


35 

COM  PTE-C AL I X  (F R A N 90 1 S-C L A  U  D I U S), 

Paris. 

Medals ,  1844,  ’57,  ’59  and  ’03. 

“  He  Comes!” 

A  sparkling  little  picture,  the  figure  posed  with  grace,  in  the  atti¬ 
tude  of  expectancy.  That  the  expected  one  is  near  i*  suggested 
by  the  well-pleased  expression  on  the  lady’s  face,  and  by  the  less 
bashful  dog,  who  wags  his  recognition,  and  thus  welcomes  the 
lover  to  his  mistress. 


36 

COOMANS  (JOSEPH),  Paris. 

A  Daughter  of  Pompeii. 

The  beauty  and  brilliancy  of  Coomans’  Pompeiian  pictures  is  every¬ 
where  recognized,  and  there  are  many  highly  prized  examples  of 
him  in  our  collections.  But  it  has  not  been  our  good  fortune 
hitherto  to  have  had  any  work  of  his  so  superb  in  color  and  mas¬ 
terly  in  treatment  in  every  respect,  as  is  this  beauty  of  Pompeii. 
Indeed,  it  is  difficult  to  find  words  to  express  in  fitting  terms  the 
admiration  which  such  a  picture  as  this  excites.  Nor  is  it  for  its 
brilliancy  of  color  only  that  the  contribution  must  be  looked  upon  as 
worthy  of  great  admiration.  The  hand  of  the  master  is  no  less 
recognizable  in  the  charming  disposi  tion  of  forms  and  in  the  exquisite 
painting,  in  both  light  and  shadow,  of  the  flesh.  And  how  well, 
also,  he  here  typifies  the  abandon  and  barbaric  elegance  of  the 
most  luxurious  people  known  to  history.  ♦ 

37 

COT  (PIERRE  AUGUSTE),  Paris. 

The  Brunette. 

A  carefully  and  powerfully  painted  head  and  bust,  and  an  excellent 
specimen  of  an  artist  whose  faces  are  remarkable  for  their  life  like 
earnestness.  Many  will  remember  the  great  beauty  of  form  and 
expression  in  the  painting  by  this  artist,  not  long  since  exhibited 
at  Goupil’s,  of  a  young,  fair  girl  reading— a  picture  which  created 
quite  a  sensation  at  the  time.  This  painting  is  distinguished  no 
less  for  that  same  earnestness  and  intensity  of  expression.  There 
is  a  startling  reality  in  the  merry  and  searching  look  of  this  dark- 
brown  maid,  which  has  wonderful  attraction  in  it. 


21 


38 


33* 

COTTIN  (PIERRE). 

Barn-yard  Scene  at  Bassecour. 

A  carefully  and  successfully  painted  picture,  with  fine  sunlight  effect 
and  admirable  suggestion  of  texture  in  the  old  architecture  of  the 
place.  The  birds  and  all  the  accessories  are  skillfully  painted,  and 
truthful  and  effective  in  color. 

39 

COUBERTIN  (CHAS.  de),  Paris. 

Chevalier  of  the  Legion  of  Honor,  1805. 

Affliction. 

A  highly  emotional  picture,  and  one  which  presents  with  painful 
truthfulness  and  power,  a  passage  from  life,  of  deep  sorrow  and 
solemnity.  And  the  great  artist  is  recognized  in  the  way  in  which 
he  contributes,  by  the  pose  of  his  figures,  the  expression  of  their 
faces,  and  that  weird  effect  of  light  peculiar  to  the  interior  of  the 
house  of  prayer,  to  impress  us  with  the  grief  yet  prayerful  recon¬ 
ciliation  of  the  women.  Technically  the  painting  is  finished  in  the 
artist’s  best  manner.  It  is  indeed  a  highly  impressive  work. 

* 

[\§ 

40 

DARGELAS  (HENRI),  Paris.  ' 

“  A  Clock  that  Goes.” 

There  can  be  no  doubt  of  the  appropriateness  of  the  title,  whatever 
there  may  be  of  the  future  good  behavior  of  the  time-keeper.  This 
is  a  capital  story  of  the  mischief  indigenous  to  childhood,  and 
sprouting  readily  when  the  opportunity  presents  itself.  The  absence 
of  the  mother  has  given  the  little  rogues  a  rare  chance  to  pursue  their 
scientific  investigations,  and  such  is  their  ardour,  evidently,  that 
the  more  prudent  little  sister’s  remonstrances  are  lost  upon*  them. 

22 

4i 

DARJOU  (ALFRED),  Paris. 

The  Gamekeeper. 

A  welcome  visit  to  the  kennel  of  the  old  whipper-in  ;  the  dogs  sug¬ 
gesting  their  readiness  for  a  good  day’s  sport. 


42 

DAUBIGNY  (CHAS.  FRANCOIS),  Paris. 

Medals,  1848,  ’53,  ’55,  ’57,  ’59,  ’07  ;  Chevalier  of  the  Legion  of 

Honor. 


Boats  on  Shore. 

An  example  of  the  breadth  of  manner  and  masterly  vigor  of  an  artist 
of  great  reputation,  whose  paintings  command  the  highest  pi  ices. 
He  is  not  a  painter  of  pretty  pictures,  but  chooses  rather  such  sub¬ 
jects  as  are  expressive  of  life  in  shadow,  here  suggested  in  the 
glowing  sky,  the  sombre  forms  of  the  fishing  boats,  and  the  bleak 
stretch  of  sandy  beach. 


43 

DEBON  (HIPPOLYTE),  Paris. 


The  Visit  to  the  Do^e. 

This  important  picture  represents  the  visit  of  the  Turkish  Ambassa¬ 
dors  and  his  suite  to  the  Doge  of  Venice  in  1574 ;  when  all  civilized 
nations  paid  their  tribute  of  respect  and  admiration  to  the  great 
republic.  The  scene  is  laid  at  Lida,  and  is  historical.  Such 
generosity  as  that  which  inspired  so  noble  a  donation  as  this,  can¬ 
not  be  over  praised  ;  for  in  it  we  have,  evidently,  the  thought  and 
labor  of  many  months,  with  a  result  of  great  value.  The  glory  of 
the  time,  when  Venice  stood  first  among  the  cities  of  the  world, 
is  admirably  expressed  in  the  wealth  and  beauty  suggested  in  this 
reception.  The  grouping  is  done  with  fine  effect,  the  figures 
gracefully  drawn  and  posed,  the  faces  expressive,  and  the  color 
throughout  rich  and  mellow. 


28 


Ifo 

44 

DE  COCK  (CESAR),  Paris 

Landscape. 

A  fresli  and  vigorous  picture,  pleasantly  suggestive  of  early  summer, 
and  with  airy  freshness  of  atmosphere  and  color. 

3-9- o 

45 

DELOBBE  (FRANCOIS  ALFRED),  Paris. 

The  Prayer. 

A  most  expressive  and  thoroughly  pleasing  subject.  The  earnestness 
of  devotion  and  trusting  faith  of  childhood  could  not  be  more  hap¬ 
pily  suggested  than  in  the  face  and  attitude  of  this  young  girl. 
There  is  nice  modelling  in  the  swat  thy  sun-kissed  flesh,  which  sug¬ 
gests  the  healthy,  hardy  life  of  the  peasant ;  and  rich  color  in  the 
picturesque  head  dress.  But  few  pictures  in  the  collection  can  rival 
this  in  the  interest  which  attaches  to  its  simple  and  graceful'na- 
turalness. 

46 

DELORT  (CHARLES  EDOUARD),  Paris. 

Early  Visitors. 

A  unique  example  of  the  originality  and  vigor  of  an  artist  of  rapidly 
rising  reputation,  assumed  by  connoisseurs  as  likely  to  take  the 
place  of  the  lamented  Zamacois.  The  composition  suggests  the 
entrance  of  cavaliers  into  a  city  in  the  morning,  bright  and  early 
and  the  commotion  that  such  visitors  would  be  likely  to  awaken 
The  victualler,  who  evidently  takes  deep  interest  in  the  coming 
strangers,  is  doubtless  questioning  himself  whether  or  not  they 
will  stop  at  a  neighboring  inn,  and  what  his  chances  are  for  ten 
sous  more  per  pound  for  chicken.  The  effect  of  early  morning  is 

very  fine,  and  the  pose  and  pleasing  color  of  the  butcher  highly 
attractive  and  suggestive,  0  “ 

24 

47 


DET AI LLE  ( J  EAN-B APTI STE-EDO  U ARD> 

Medals,  1869. 


Grenadier  of  the  Guards. 


A  vigorous  expression  of  tlie  strength  and  naturalness  of  this  artist, 
who  has  made  a  brilliant  reputation  within  a  few  years,  in  treating 
subjects  relating  to  military  life  in  France.  A  painting,  lately 
painted  by  him,  in  which  German  soldiers  are  seen  carrying  off 
booty  from  a  French  town,  was  sold  by  Goupil  &  Co.  for  25,000 
francs. 


48 

DUBUFE  (EDOUARD). 

Thoughts  of  Love. 

An  important  example  of  this  artist.  The  subject  is  a  young  girl 
knitting,  but  with  an  expression  of  face  which  suggests  that  her 
mind  is  not  with  her  labor.  The  dog  looks  up  enquiringly  in  the 
face  of  his  mistress.  The  treatment  is  in  the  broad  and  effective 
manner  of  the  artist,  aud  partakes  largely  of  his  brilliancy  of 
color. 


49 

DURAN  (CAROLUS),  Paris. 

Medals ,  1 866  and  1869. 

Head  of  an  Italian. 

A  good  study  ;  noticeable  for  the  breadth  and  vigor  characteristic  al¬ 
ways  of  this  artist’s  work. 


25 


So 

DUVERGER  (THEOPHILE-EMANUEL). 

Medals,  1861,  1803  and  1865. 

Ready  for  the  Fray. 

One  of  the  most  charming  stories  of  child-life,  probably,  ever  painted 
by  this  fine  artist,  is  seen  in  this  equipment  of  baby  Cupid,  by  his 
sister,  to  whom  the  danger  of  such  a  play-toy  as  love’s  quiver  can 
scarcely  yet  be  known.  And  thus  the  subtle  charm  of  the  pleasing 
story,  since  it  suggests  how  readily,  at  sweet  sixteen,  the  gentle 
sex  do  take  to  bows  and  arrows.  There  is  also  a  sense  of  humor 
in  the  evident  reluctance  of  the  little  one  to  be  so  burdened — 
heavy  is  the  head  that  wears  a  crown.  This  picture,  in  color  and 
composition,  is  in  Duverger’s  happiest  manner. 


5i 

ELVEN  (PAUL  TETAR,  van),  Paris. 

Street  Scene. 


A  highly  picturesque  street  scene,  rich  in  quaint  architecture,  and 
heightened,  in  its  most  pleasing  effect,  by  the  play  of  the  subdued 
sunlight  from  a  sky  laden  with  fleecy  clouds.  The  incident  of  the 
forge  and  its  ruddy  light  is  very  skillfully  introduced,  and  there  is 
excellent  suggestion  of  life  and  bustle  in  the  distant  street. 


52 

ESCOSURA  (IGNACE  de  LEON  y). 


The  Musketeer. 

A  brilliant  little  picture,  in  the  highly-finished  manner  of  this 
artist. 


26 


53 

FAIVRE  DUFFER  (LOUIS  STANISLAS), 

Medals ,  1851  and  1861. 

The  Washerwomen, — A  Recollection 
of  Italy. 

This  is  the  simple  title  given  to  this  beautiful  work  by  the  artist ; 
but  the  close  observer  will  recognize  that  another  is  suggested 
by  the  attitudes  of  the  women,  and  the  expression  on  their 
faces.  In  her  who  bears  the  infant,  it  is  not  difficult  to  perceive 
the  deceived  and  fallen  one,  for  this  is  but  too  palpably  suggested 
by  the  finger  of  scorn  of  the  kneeling  figure,  and  the  contempt  in 
the  face  of  her  companion  The  sad  face  of  the  mother  also  con¬ 
tributes  to  the  story.  The  work,  technically,  is  very  pleasing, 
carefully  drawn  and  composed,  unobtrusive  yet  rich  in  color: 


54 

FORTUNY. 


Interior. 

This  highly  suggestive  sketch  is  from  the  easel  of  an  artist  whose 
works  to-day  are  so  much  sought  after,  that  it  is  difficult  to  obtain 
the  lea«t  important  of  his  productions.  He  is  at  present  engaged 
on  a  picture  for  one  of  our  collectors,  for  which  he  is  to  be  paid 
60,000  francs  in  gold.  He  is  recognized  as  one  of  the  great  masters 
of  the  modern  Spanish  school.  Sketchy  as  this  picture  is,  there  is 
remarkable  suggestion  of  character  in  it,  and  exquisite  grace  in 
the  pose  of  the  figure  of  the  woman  feeding  her  pet  canaries. 


55 

FRfiRE  (PIERRE  EDOUARD),  Paris. 

Medals ,  1851,  ’52,  and  ’53;  Chevalier  of  the  Legion  of  Honor. 

An  Interior. 

An  example  of  an  artist  of  world-wide  fame,  representing  a  cottage 
interior  in  Auvergne,  and  suggesting  the  rude  simplicity  of  the 
peasant’s  life. 


27 


56 

FROM  ENT  (EUGENE),  Paris. 

Chevalier  of  the  Legion  of  Honor ,  1868. 

The  Distribution. 


A  charming  Idyl,  with  figures  gracefully  drawn  and  expressive.  The 
female  figure  is  of  statuesque  beauty,  and  probably  symbolizes 
the  Goddess  of  Night,  giving  sleep  to  the  weary. 


57 

FROMENTIN  (EUGENE),  Paris. 

Medals ,  1849,  ’67,  ’59,  ’67  ;  Chevalier  of  the  Legion  of  Honor,  1859  ; 
Officer  of  the  Legion  of  Honor ,  1869. 


Watering  the  Horses. 


A  fine  example  of  this  distinguished  artist,  notable  for  his  admirable 
painting  of  animals  and  the  beauty  and  richness  of  his  color.  This 
specimen  illustrates  his  rare  knowledge  and  ability  in  laying  on 
color,  so  that  every  touch  of  his  brush  is  effective.  The  scene  is 
Eastern,  as  suggested  by  the  distant  architecture,  and  the  costume 
and  color  of  the  rider.  But  very  few  examples  of  this  artist  reach 
this  country. 


58 

GEROME  (JEAN  LEON). 

Medals ,  1847,  1848,  1855  ;  Chevalier  of  the  Legion  of  Honor,  1855; 
Member  of  the  Institute,  1865  ;  Medal  of  Honor ,  1867  ;  Officer  of 
the  Legion,  1867. 

Souvenir  of  Mount  Sinai. 

The  peculiar  merits  of  this  great  artist’s  manner  are  apparent  in  this 
sombre  figure  of  the  East,  and  in  the  primitive  mode  of  life  of  the 
children  of  the  desert  and  the  mountain — the  heathen  possessors 
of  the  land  most  sacred  to  the  Christian  and  the  Hebrew  which  he 
here  suggests. 

28 


59 


GIDE  (THfiOPHILE),  Paris. 

Medals ,  18<51,  ’65,  and  ’66 ;  Chevalier  of  the  Legion  of  Honor ,  1866. 

Early  and  Late. 

A  vigorous  example  of  this  great  artist,  powerful  in  its  effect  of  light 
and  shadow  and  rich  in  color.  The  different  rewards  that  wait  on 
late  and  early  risers  is  capitally  told,  in  the  happy  face  of  the  ruddy 
monk  coming  home  laden  with  his  alms,  and  in  the  sohr  and  dis 
contented  one  of  him  who  sets  out  upon  his  mission. 


6o 

GIRARDET  (KARL),  Paris. 

A  Swiss  Home. 

A  pleasant  summery  picture  of  a  Swiss  homestead —one  of  the  com¬ 
fortable  old  cottages  of  the  valley — not  the  conventional  chalet  of 
the  highlands. 


6i 

GIRARDET  (HENRI),  Paris. 

A  Swiss  Woman. 

34) 

A  masterly  head  and  bust  of  an  old  woman,  full  of  expression  and 
rich  in  color. 


29 


62 


GLAIZE  (LEON),  Paris. 

Medals,  1 864-,  ’66,  and  ’68. 

Head  of  a  Young  Girl. 

A  fine  expressive  head,  painted  with  great  skill  and  effectiveness. 

63 

GOUBIE  (JEAN  RICHARD). 

The  Morning  Walk. 

Even  when  a  choice  will  be  so  hard  to  make  as  in  this  rare  collection 
this  contribution  by  Goubie  cannot  fail  to  be  selected  as  one  of  the 
gems.  It  is  unquestionably  one  of  the  most  thoroughly  realistic 
pictures  ever  exhibited  in  New  York ;  for  its  realism  is  as  recog¬ 
nizable  in  the  tree  forms  and  foliage ;  in  the  paintiug  of  the  dis¬ 
tant  house,  and  the  grasses  of  the  sward,  as  it  is  in  the  admirable 
finish  of  the  horses,  where  texture  is  so  wonderfully  suggested. 
This  is,  indeed,  a  work  of  great  beauty,  thoroughly  satisfactory  in 
all  its  parts,  and  one  which  cannot  fail  to  elicit  admiration  from 
all  who  will  give  it  the  careful  study  which  it  merits. 

64 

HAMMAN  (EDOUARD-JEAN-CONRAD), 

Paris. 

The  Rivals. 

'  A  noble  contribution,  surely..  Attractive  in  subject  and  composed 
and  painted  with  great  skill  and  most  pleasing  results.  The  con- 
cen* ration  of  light  on  the  figure  of  the  lady  is  highly  effective,  yet 
subdued.  The  delicate  drapery  of  her  figure  and  her  fair  face  are 
positively  luminous.  The  vexation  of  the  suitor,  appropriately 
placed  in  shadow,  is  well  suggested  by  the  upraised  face,  its 
ill-concealed  sneer  and  the  petulant  pulling  at  the  gloves.  That 
the  gallantry  of  the  rival — a  courtier  in  two  senses — is  likely  to 
reap  a  rich  reward,  is  suggested  by  the  well-pleased  look  of  the 
beauty,  as  she  waits  but  for  his  closing  compliment  to  accept  his 
gift.  The  scene  is  Yenice,  and  the  time  suggested  three  hundred 
years  ago. 

30 


FRENCH  PAINTINGS,  Etc. 


- M  - - 

Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  French 
Artists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire ;  in  Dollars , 
also  in  Francs  ( gold ).  May  16th  and  17///,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hall,  New  York. 


Nos. 

Dollars. 

Francs, 

1  Nos, 

Dollars, 

Francs, 

Nos. 

Dollars. 

Francs, 

Nos, 

Dollars. 

Francs. 

1 

50 

225 

;  40 

115 

518 

78 

80 

360 

117 

20 

90 

2 

425 

1913 

i  41 

60 

270 

79 

80 

360 

118 

475 

2138 

3 

90 

405 

42 

200 

900 

80 

260 

1170 

119 

1300 

5850 

4 

110 

495 

48 

825 

1463 

81 

170 

765 

120 

205 

925 

5 

150 

675 

44 

150 

,  675 

82 

175 

788 

121 

210 

945 

6 

65 

293 

45 

220 

990 

83 

100 

450 

122 

200 

900 

ft 

t 

85 

158 

46 

625 

2813 

84 

160 

720 

123 

925 

4163 

8 

900 

4050 

47 

425 

1913 

85 

175 

788 

124 

275 

1238 

9 

.25 

112 

48 

325 

1 4G  3 

86 

180 

810 

125 

360 

1620 

10 

360 

1620 

49 

35 

158 

87 

645 

2903 

126 

90 

405 

11 

100 

450 

50 

100 

450 

88 

310 

1395 

127 

12 

450 

I  2025 

51 

200 

900 

89 

2000 

9000 

128 

25 

112 

13 

50 

225 

52 

325 

1463 

90 

100 

450 

129 

25 

112 

14 

30 

185 

53 

150 

675 

91 

270 

1215 

I  130 

150 

675 

15 

200 

900 

54 

'  400 

1800 

92 

110 

495 

131 

15 

68 

16 

30 

135 

55 

110 

495 

93 

60 

2 . 0 

132 

260 

1170 

17 

600 

2700 

56 

60 

270 

94 

75 

338 

133 

70 

315 

18 

700 

8150 

57 

625 

2113  j 

95 

110 

495 

n  34 

85 

383 

19 

55 

248 

58 

1350 

6075 

96 

110 

495 

135 

25 

112 

20 

750 

3575 

59 

200 

900 

97 

110 

495 

!  136 

20 

90 

21 

200 

900 

60 

85 

383 

98 

40 

180 

137 

35 

158 

22 

800 

3600 

61 

35 

158 

99 

110 

495 

138 

90 

405 

23 

50 

225 

62 

90 

405  1 

100 

425 

1913 

139 

25 

112 

24 

225 

1013 

63 

390 

1755  1 

101 

125 

563 

140 

35 

158 

25 

575 

25s8 

64 

750 

3315 

102 

140 

630 

141 

50 

225 

36 

60 

270 

65 

225 

1013 

103 

125 

563 

142 

7* 

34 

17 

300 

1350 

65* 

25 

112  j 

104 

50 

225 

143 

20 

90 

'8 

45 

208 

66 

40 

180 

105 

■  40 

180 

144 

224 

102 

39 

110 

495 

67 

110 

495 

106 

110 

495 

145 

2275 

10238 

10 

150 

675 

68 

165 

743 

107 

150 

o75 

146 

25 

112 

d 

800 

3600 

69 

70 

315 

i  108 

675 

303s 

147 

35 

158 

12 

275 

1248 

70 

110 

495 

109 

540  . 

1  2430 

148 

20 

90 

13 

175 

788 

71 

400 

1800 

110 

150 

675 

149 

350 

1 575 

:4 

100 

450 

72 

50 

225 

111 

55 

248 

150 

25 

112 

5 

240 

1080 

78 

80 

360 

112 

25 

112 

151 

25 

112 

6 

650 

2925 

74 

275 

1248 

113 

100 

450 

152 

75 

338 

160 

720 

75 

190 

855 

114 

95 

428 

153 

150 

675 

330 

1485 

76 

260 

1170 

115 

700 

3150 

40 

180 

77 

190 

1 

855 

116 

420 

1890 

TOTAL  AMOUNTS.— Dollars  37,355.00.  Francs  168,098. 


DUSSELDCRF  PAINTINGS,  Etc. 


- H 


Prices  realized  at  the  Sale  of  the  Paintings  given  by  the  Dusseldorf 
irtists  for  the  benefit  of  the  Sufferers  by  the  Chicago  Fire  ;  in  Dollars , 
Iso  in  Francs  (gold).  May  1 8,  1872. 

The  Messrs.  LEAVITT,  Auctioneers,  Clinton  Hail,  New  York. 


Note. — Some  few  errors  occur  in  the  Catalogue  of  this  Collection , 
rising  from  names  incorrectly  given ,  and  a  few  numbers  duplicated. 


Jos, 

Dollars, 

Francs. 

Nos. 

Dollars. 

Francs. 

Nos. 

Dollars. 

1  Francs, 

Nos. 

Dollars. 

Francs. 

31 

90 

405 

201 

195 

878 

244 

45 

203 

284 

5 

23 

32 

13 

58 

202 

20 

90 

245 

60 

270 

285 

65 

293 

33 

55 

248 

203 

100 

450 

246 

70 

315 

286 

15 

68 

14 

75 

338 

204 

60 

270 

m 

65 

293 

287 

17.50 

80 

35 

75 

338 

205 

625 

2813 

248 

20 

90 

288 

15 

68 

36 

40 

180 

206 

25 

112 

249 

40 

180 

289 

55 

248 

37 

25 

112 

207 

125 

563 

250 

30 

135 

290 

12.50 

56 

38 

25 

112 

208 

65 

293 

251 

40 

180 

291 

140 

630 

39 

60 

270 

209 

95 

428 

252 

80 

360 

292 

50 

225 

70 

30 

135 

210 

>25 

112 

253 

210 

945 

293 

90 

405 

ri 

55 

248 

211 

110 

495 

254 

60 

270 

294 

45 

203 

72 

J  00 

450 

2 12 

40 

180 

255 

15 

68 

295 

10 

45 

'3 

45 

203 

213 

85 

383 

256 

100 

90 

296 

3 

13 

'7 

100 

450 

214 

10 

45 

257 

200 

900 

297 

11 

50 

'5 

20 

90 

215 

30 

135 

258 

5 

23 

298 

5 

22 

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4 


TOTAL  AMOUNTS.— Dollars,  7,978.00.  Francs,  35,900. 


65 

HEULLANT  (ARMAND). 

The  Drawing  Lesson.  X  ^  " 

Heullant  is  amongst  the  first  of  that  new  school  of  color  seen  in  the 
works  of  Fortuny,  Madrazo,  Pasini,  Delort  and  a  few  others,  who 
have  succeeded  so  admirably  in  giving  us  brilliant  out-door  sub¬ 
jects,  with  flesh,  drapery,  and  objects  generally,  in  the  full  glare 
of  sunlight,  or  in  the  broad,  diffused  light  from  a  cloudless  sky. 

Of  this  the  idyl  before  us,  “  The  Drawing  Lesson,”  is  a  very  beau¬ 
tiful  example.  The  figures  are  posed  with  statuesque  grace  and 
draped  no  less  skillfully,  yet  simply  and  naturally,  for  effect.  The 
color  effect,  in  the  bright  light,  is  brilliant,  and  there  is  the  airiness, 
the  unmistakable  out-of-door  feeling,  which  the  artist  sought  to 
secure  as  a  primary  object.  The  story  is  not  new,  yet  has  not. 
often  been  so  gracefully  told — of  the  young  art  student  receiving 
his  first  lesson. 


6s* 

HIRSCH  (ALPHONSE), 

Still  Life. 


Paris. 


A  broad  and  ably  painted  study,  suggestive  of  the  creature  comforts 
of  the  studio. 


66 

HUGARD  (CLAUDE  SEBASTIEN). 

Swiss  Landscape. 


Morning  effect  on  the  lofty  Alpine  peaks,  with  lake  in  the  foreground 
in  shadow,  and  the  mists  rising  upwards  towards  the  sunlight. 

31 


* 


67 


IMER  (EDOUARD). 

The  Gulf  of  St.  Juan, — 


where  Napoleon  disembarked  in  1814. 


A  very  beautiful  marine ;  able  as  a  work  of  art  and  valuable  as  an 
historical  painting  ;  being  a  vivid  portrait  of  the  Gulf  of  St.  Juan 
and  the  blue  Mediterranean,  at  the  point  whereupon  Napoleon 
landed  on  his  escape  from  Elba. 


JACOMIN  (ALFRED  LOUIS), 

A  Pause  in  the  Journey. 


Paris. 


A  skillfully  painted  and  highly  effective  bit  of  life  outdoors  at  a 
time  when  travelers  were  much  more  picturesque  objects  than 
now-a-days.  How  different  the  quaint  costume  here  depicted  to 
the  rigid  lines  and  sombre  color  of  the  drapery  of  to-day  !  Doubt¬ 
less  there  is  a  story  in  this  duet,  if  we  could  hear  it ;  for  the  ex¬ 
pression  of  the  gayest  of  the  gallants  suggests  his  disappointment 
about  something.  Who  knows,  but  there  is  a  woman  in  the  case, 
more  interesting,  if  less  kind  than  the  bounteous  hostess,  who 
comes  with  nourishment  for  the  body,  if  not  with  comfort  for  the 
soul  1 


JACOMIN  (MARI E-FERNAND). 

Early  Morning. 


A  broad  and  effective  sketch,  with  the  feeling  of  early  morning  con¬ 
veyed  in  the  landscape  and  sky,  and  of  honest  determination  to  do 
a  good  day’s  business  in  the  figure  of  the  sportsman. 


32 


» 


70 

JACQUET,  (GUSTAVE),  Paris. 


Fancy  Head. 

A  vigorous  work,  eminently  pleasing  in  expression,  and  rich  in  color. 


7 1 

JALABERT  (CHARLES-FRANQOIS),  Paris. 

Medals ,  1851,  ’53,  ’55,  and  ’07 ;  Chevalier  of  the  Legion  of  Honor , 
1866 ;  Officer  of  the  Legion  of  Honor ,  1867. 

The  Lesson. 


A/-6C 


An  exquisite  example  of  this  great  artist.  Composition  could  not  be 
more  graceful,  expression  more  truthful,  or  color  more  pleasing. 
This  is,  indeed,  a  gem,  worthy  of  the  study  of  the  artist,  for  its 
rare  technical  qualities,  and  most  covetable  to  the  collector  as  a 
unique  example  of  one  of  the  greatest  painters  of  our  time. 


72 

JAN  MOT  (LOUIS).  Pupil  of  Ingres.  Born  at 

Lyons. 


Reverie. 

This  picture,  of  a  young  Italian  girl,  was  exhibited  at  the  Paris  ex¬ 
position  of  1870.  It  is  a  good  example  of  the  artist,  pleasing  h- 
expression  and  rich  in  color. 


73 

JAPY  LOUIS),  Paris. 

Landscape. 

A  pleasant  passage  of  lake  scenery,  vigorous  and  truthful. 

33 


/ 


JOURDAN  (ADOLPHE),  Paris. 

Medals,  1864,  1866  and  1869. 

Unconscious  Beauty. 

A  wonderfully  expressive  and  beautiful  face,  painted  with  the  skill 
of  a  great  artist ;  for  in  it  vve  recognize  that  which  is  most  valu¬ 
able,  the  suggestion  of  spirit  on  the  canvas.  Our  admiration  is  less 
for  the  merit  of  technique  than  for  the  wonderful  suggestion  of  a 
beautiful  humanity  in  the  sweet  and  thoughtful  face  before  us 
the  dreamy,  dove-like  eyes,  the  exquisitely  fashioned  mouth  sug¬ 
gesting  the  happy  thought  of  the  lovely  dreamer. 

75 

KAEMMERER  (FREDERIC  HENRY),  Paris. 

Innocence. 

A  very  beautiful  and  highly  finished  nude,  modeled  with  consummate 
skill  and  eminently  pleasing  in  color.  The  pose  is  extremely 
natural  and  graceful.  It  must  be  conceded  that  the  artist  has 
most  satisfactorily  expressed  his  idea  of  innocence  in  this  pure  and 
charming  picture.  And  pleasing  as  his  figure  is,  the  cool  land¬ 
scape  opposed  to  it  is  no  less  so,  and  admirably  in  keeping  with  its 
sweet  repose.  The  face  of  the  figure  being  turned  from  us  calls 
attention  to  the  approaching  figures  ;  but  a  glance  at  these  while  it 
suggests  her  sensitive  modesty,  does  not  suggest  invasion  of  the 
privacy  of  the  fair  bather — beautiful  as  a  Naiad. 


LAM BI NET  (EMILE),  Paris. 

Medals ,  1843,  ’53;  and  ’57  ;  Chevalier  of  the  Legion  of  Honor,  1867. 

Home  in  Normandy. 

One  of  the  finest  specimens  of  this  renowned  French  landscape  paint¬ 
er,  if  not  the  very  best,  ever  imported  ;  and  to  his  honor  be  it  said, 
for  the  donation  is  indeed  a  noble  one.  The  scene  is  in  Normandy, 
and  suggests  the  peaceful  peasant  life  of  that  lovely  province. 
The  stream  in  the  foreground,  overhung  by  fruit-laden  trees ;  the 
warm  shadows  beneath  these,  and  the  bright  passage  of  sunlight 
in  the  middle  distance,  make  up  a  composition  of  most  pleasing 
repose  and  natural  beauty. 

34 


77 


LANDELLE  (CHARLES). 

Medals ,  1842,  ’45,  ’48,  ’55;  Chevalier  of  the  Legion  of  Honor,  1855. 


W  asherwomen. 


A  highly  finished  and  very  interesting  composition,  with  the  figures 
well  grouped  and  full  of  life  and  motion.  The  long  shadows  and 
dull  light  suggest  the  early  morning,  and  account  for  the  low- 
toned  and  quiet  character  of  the  treatment.  The  sea,  as  it  comes 
rolling  in,  barred  with  long  rays  of  light,  is  also  painted  with  nice 
feeling  and  in  perfect  harmony  with  the  cool  gray  sky  above  it. 
The  fastidious  care  of  the  conscientious  artist  is  seen  also  in  the 
painting  of  the  pebbly  beach,  of  the  utensils  of  the  women,  and  of 
the  piles  of  garments  scattered  round  about.  Landelle  has,  indeed, 
done  honor  to  Chicago  in  this  choice  example  of  his  skill. 


LAPIERRE  (LOUIS  EMILE). 

Medals,  1848  and  ’63  ;  Chevalier  of  the  Legion  of  Honor ,  1869. 


Winter  Scene. 


Huntsmen  at  a  fire  in  the  woods,  towards  the  close  of  a  day’s  sport. 
The  twilight  feeling  is  well  suggested,  and  there  i->  masterly  vigor 
in  the  sketch  throughout. 


LASSALLE  (LOUIS  SIMON), 

Washing  Day. 


Paris* 


A  charming  specimen  of  an  artist  well  known  and  esteemed  with  us. 
It  has  all  his  best  qualities,  happiness  of  subject,  truthful  and 
harmonious  color,  and  careful  treatment  of  accessories.  Could  a 
more  happy  little  housewife  be  imagined  than  this  snug  little 
lady,  well  content  to  do  her  share  to  make  home  comfortable  ? 
Such  pictures  are  sermons  on  contentment,  that  state  for  which 
more  than  any  other,  life’s  roses  bloom,  and  to  which  the  sunlight 
comes  with  joy. 


35 


8o 

LEJEUNE  (EUGENE). 


Spring  Flowers. 

A  very  pleasing  story  of  the  joys  of  life’s  spring  time,  and  of  peaceful 
peasant  life.  The  face  of  the  elder  sister  is  very  charming  and  ex¬ 
pressive,  and  her  figure  gracefully  posed.  The  landscape,  although 
but  of  secondary  interest,  it  very  skillfully  painted  and  agreeable 
in  color. 


LELOIR  (.LOUIS),  Paris. 

Medals,  1864  and  ’68. 


“  At  Bay.” 

A  highly  finished  specimen  of  this  renowned  artist ;  powerful  in  its 
action  and  brilliant  in  its  color.  The  face  is  a  fine  study  of  charac¬ 
ter,  expressing  as  it  does  the  cou  age  and  determination  to  brave 
the  fight  against  all  odds.  There  is  a  rare  picturesqueness  in  the 
quaint,  costume  of  the  period,  and  the  oddly  formed  weapon — the 
arquebuss — is  itself  a  study.  The  collection  -does  not  contain  a 
picture  upon  which  more  fastidious  care  has  been  bestowed  to  se¬ 
cure  finish  by  the  artist,  and  but  few  of  such  interest  to  the  stu 
dent  of  history,  apart  from  its  intrinsic  merits  as  a  work  of  art, 
which  are  great. 


82 


LEMAIRE  (Mme.  MADELINE  J.),  Paris. 


The  Guitar. 

A  work  of  very  remarkable  strength  and  beauty  ;  one  of  the  most  im¬ 
portant  and  valuable  contributions  of  the  collection  and  the  gift 
of  a  lady  artist.  The  eminently  graceful  and  natural  poses  of  the 
figure  ;  the  admirable  disposition  of  the  forms  and  color  of  the 
drapery  and  the  subtle  modelling  of  face,  neck,  arms  hands  and 
bosom,  cannot  be  overpraised.  And  the  features,  if  they  have 
not  the  conventional  beauty  of  outline,  are  full  of  expression,  sug¬ 
gestive' of  the  genius  of  the  gifted  Improvisatore.  A  work  of  un 
mistakable  merit,  this  painting  cannot  fail  to  secure  its  full  share 
of  admiration. 


» 


36 


Paris. 


83 

LENOIR  (PAUL-MARIE), 

Egyptian  Water  Carriers. 

A  very  peculiar  and  interesting  picture,  descriptive  of  life  among  the 
lowly  in  the  hot  land  of  Egypt.  The  strong  contrast  of  light  and 
shadow,  and  the  thick  atmosphere,  tell  of  the  early  morning.  The 
figure  of  the  nearest  woman  is  posed  with  infinite  grace — itself  a 
picture — and  the  long  line  of  forms  present  a  tableau  dreamy  and 
strange  in  character,  yet  eminently  pleasing  and  suggestive. 


84 

LESREL  (ADOLPHE  ALEXANDRE). 

The  Fisherman’s  Wife. 

A  desirable  specimen  of  an  artist,  whose  works  are  now  much  sought 
after  with  us,  and  admired  for  their  careful  finish,  and  brightness 
and  transparency  of  color. 


85 

LfiVY  (EMILE),  Paris. 

Prize  of  Rome,  1854.  Medals,  1859,  1864,  1866,  1867,  and  Medal 
of  Honor  at  the  Universal  Exposition  of  year  last  named. 

Sad  and  Weary. 

•This  very  beautiful  work  will  readily  be  accepted  as  one  of  the  most 
attractive  and,  in  every  respect,  pleasing  pictures  by  this  artist, 
ever  exhibited  here.  The  story  of  the  worn-out  watcher  by  the 
sick-bed  is  most  touchingly  told  in  the  expressive  face  and  sug¬ 
gested  lassitude  of  the  tired  limbs.  But,  beyond  this,  and  appeal¬ 
ing  most  forcibly  to  the  connoisseur,  is  the  overflowing  wealth  of 
color  in  the  picture,  and  the  admirable  harmony  with  brilliancy 
which  pervades  it.  Abandonment  to  rest  of  wearied  human  na¬ 
ture,  and  the  quiet  of  the  still  chamber  wooing  to  repose,  could  not 
have  been  more  skillfully  or  successfully  suggested. 


« 


37 


86 


LOBRICHON  (TIMOLfiON). 


Medal,  1868. 


Mamma’s  Darling. 


A  thoroughly  charming  bit  of  baby  life,  and  painted  with  consum 
mate  ability.  Nothing  could  be  more  graceful  than  the  pose  of  the 
little  figure,  nor  more  satisfactory  than  the  painting  of  each  de¬ 
tail.  The  sunny  face  and  head,  the  plump  and  dimpled  arms,  the 
sparkling  color  of  the  dress  and  ribbons,  the  gathered  pets,  the 
garden  steps  and  vines  and  flowering  shrubs,  all  are  finished 
with  the  nicest  care,  and  with  a  harmony  and  beauty  rarely,  if  ever, 
equalled  in  a  work  of  this  character.  Such  a  sweet  picture  as  this 
is,  indeed,  a  treasure  in  a  home,  and  a  sermon  to  old  bachelors. 


MADRAZO  (FREDERIC 


Born  at 
Madrid. 


Medals,  1838,  ’39,  ’45  and  1855  ;  Chevalier  of  the  Legion  of  Honor t 


1846  ;  Officer  of  Legion  of  Honor ,  1860. 


The  Mandolin. 


An  exquisite  specimen  of  an  artist  of  world  wide  fame,  eminently 
beautiful  in  color,  and  pleasing  in  subject.  The  pose  of  the  figure 
is  wonderfully  graceful  in  its  perfect  abandon,  and  the  face  inter¬ 
esting  beyond  translation  in  its  dreamy  expression  and  beauty. 
The  masterly  manner  of  the  execution  of  this  little  gem  is  truly 
marvellous ;  the  color  has  been  laid  everywhere  with  such  con¬ 
summate  knowledge  and  skill. 


38 


88 


MAZEROLLE  (ALEXIS  JOSEPH),  Paris. 

Medals,  1857,  ’59,  and  ’61. 

The  Prophet  Elijah. 

There  is  no  painting  in  this  noble  collection  so  calculated  to  produce 
a  profound  impression  on  the  visitor  as  this  truly  great  work,  nor 
one  more  likely  to  impress  him  with  astonishment  at  the  great¬ 
hearted  charity  of  tire  artists  of  France.  For  here  we  have  not 
simply  a  sketch  or  study,  nor  even  a  carefully  finished  work  merely , 
the  labor  of  a  week  or  month ;  but  a  masterly  composition,  noble  in 
.  subject  and  sentiment,  and  painted  with  such  ability  that  words  of 
praise  must  fail  to  do  it  justice.  The  Scriptures  do  not  tell  of  a 
miracle  of  precisely  this  character  done  by  the  prophet,  but  of  the 
raising  of  the  son  of  his  hostess.  There  may  be  a  legend  of  the 
Church,  however,  to  justify  this  treatment;  or  the  artist  may  have 
assumed  that  Elijah  performed  many  such  wonders. 


The  figure  of  the  prophet  is  eminently  imposing,  and  the  face 
wonderfully  expressive  of  the  magnetic  action  of  the  will.  And 
how  admirably  is  the  birth  of  a  new  life  portrayed  in  the  face  of 
the  rising  figure  still  encased  in  the  covering  of  the  dead!  The 
first  flush  of  color  tints  the  flesh  ;  between  the  parted  lips  enters 
the  breath  of  life,  and  there  is  the  joy  of  a  glad  awakening,- of  be 
atitude  almost,  in  the  general  expression.  And  only  less  impres. 
sive  is  the  figure  of  the  rejoicing  mother,  whose  gratitude  is  so 
fervidly  told  by  her  gesticulation  and  the  unspeakable  joy  of  her 
uplifted  face.  The  figures  of  the  watchers,  abandoned  to  fear,  no 
less  admirably  posed  and  painted,  with  the  skillfully  painted  archi¬ 
tecture,  and  accessories  of  the  place,  complete  a  painting  which  de¬ 
serves  the  highest  rank  among  modern  works  of  art,  and  cannot 
fail  to  make  the  painter  honored  and  beloved  wherever  his  noble 
gift  finds  exhibition. 


3d 


89 

MERLE  (HUGUES),  Paris. 

Medals,  1861  and  1863.  Gross  of  Legion  of  Honor,  1866. 

Industry. 

A  remarkably  vigorous  work  by  one  of  the  greatest  of  living  artists, 
and  one  who  approaches  more  nearly  the  great  painters  of  the 
past  than  any  other  of  his  school  The  light  and  shade  of  this 
head  is  managed  with  consummate  skill,  and  the  graceful  abandon 
ot  dress  and  flowing  wealth  of  hair  are  pleasing  to  the  last  degree. 
I  he  face,  too,  has  all  that  subtle  beauty  of  expression,  for  which 
Merle’s  studies  of  life  are  so  famous,  conveying  at  a  glance,  as  they 
always  do,  the  prominent  thought  of  the  subject.  It  will  be  no¬ 
ticed,  too,  how  gracefully  the  hands  are  drawn,  and  how  sugges¬ 
tive  their  position  is  of  the  motion  of  the  lingers.  The  color  is 
quiet,  yet  eminently  rich  and  pleasing. 


90 

MEYNIER  (JULES  JOSEPH),  Paris. 

Medal,  1867. 

Souvenir  of  Italy. 

Interior  of  a  court  yard  with  figures  of  women,  and  a  donkey  waiting 
for  his  rider.  A  carefully  painted  and  pleasing  picture. 


9i 

MOREAU  (CHARLES),  Paris. 

After  Breakfast. 

A  thoroughly  satisfactory  painting,  possessing  every  good  quality 
that  a  genre  painting  should  possess-pleasing  in  story,  graceful  in 
pose  ot  figure,  quiet  yet  rich  in  color  and  most  carefully  finished 
throughout.  The  pearly  tints  of  the  background  are  exceeding 
tender,  and  the  quality  of  the  objects  represented  is  everywhere 
suggested  with  great  skill. 

40 


92 


MOUCHOT  (LOUIS), 


Paris. 


I/O 


A  Home  in  Capri. 


A  humble  Italian  home,  within  sight  of  Vesuvius,  is  here  suggested, 
with  the  mother  watching  her  sleeping  babe,  and  preparing  the 
warp  or  woof  for  the  weaver  seen  in  the  more  distant  room. 


Paris. 


MUNKACSY  (MIHALY), 

Study. 


A  vigorous  sketch  of  a  girl’s  head. 


Paris. 


MURATON  (ALPHONSE), 


Medal ,  1868. 

Winter. 


A  highly  suggestive  and  vigorous  sketch,  with  the  true  winter  feel¬ 
ing  in  it ;  and  a  portrait  of  “  Un  Coin  de  Paris,”  which  will,  doubt¬ 
less  be  recognized  by  many. 


EUPHEMIE),  Paris. 


MURATON 


The  Dessert. 


A  vigorous  and  very  effective  painting  of  peaches,  grapes  and  objects 
of  the  table.  The  peaches  are  rich  in  color,  ripe  an  l  luscious. 
These,  and  the  other  objects  are  treated  with  a  nice  love  of  truth,  and 
with  a  result  much  more  satisfactory  than  is  often  seen  in  more 
highly  finished  pictures  of  like  subjects. 


41 


96 

NAVIER  (GABRIEL),  Paris. 

Expectant. 

1(0  F 

A  carefully  finished  work,  skillful  in  drawing,  pleasing  in  color  and 
with  admirable  suggestion  of  texture  in  the  drapery.  The  lady  is 
attired  in  the  costume  of  the  time  of  Louis  XIII.  It  scarcely  needs 
to  be  told  that  she  is  waiting  the  coming  of  a  welcome  guest. 


97 

NITTIS  (JOSEPH  de),  Paris.  Pupil  of 

Gerome. 

/  In  the  Sunshine. 

A  sunny  little  gem,  most  delicate  in  its  finish  and  delineation  of 
detail. 


98 

NORBELIN. 


A  Recollection  of  Italy. 

A  very  beautiful  painting,  classic  in  subject  and  treatment 


99* 

OUVRlfi  (PIERRE  JUSTIN),  Paris. 

Lake  Scene. 

A  picturesque  view  of  a  Swiss  village  on  the  border  of  a  lake. 

42 


IOO 


PASINI  (ALBERT),  Paris.  Born  at 

Basseto,  Italy. 

Medals  1859,  1863,  1864,  and  Gross  of  the  Legion  of  Honor,  1868. 


n-Vf 


At  the  Mosque. 


A  very  beautiful  example  of  one  of  the  greatest  of  living  colorists, 
and  painted  expressly  for  this  Charity.  There  are  but  very  few  ex¬ 
amples  of  this  artist  in  America,  his  works  being  much  sought 
after  in  Europe,  and  obtainable  only  at  very  high  figures.  He  is 
deservedly  esteemed  as  a  leader  in  a  new  school  of  color,  wherein 
the  aim  is  to  secure  the  peculiar  clearness  and  brilliancy  of  color 
in  the  full  light,  yet  preserve  the  delicacy  and  harmony  which 
objects,  so  placed,  present  in  nature.  Of  this  outdoor  breadth  and 
brilliancy  this  little  picture  is  an  exquisite  exponent.  Tho  ar¬ 
rangement  of  color  in  the  drapery  of  the  figures  is  as  effective  as  a 
well-ordered  bouquet  of  flowers  ;  the  positions  are  graceful  and 
natural,  and  the  finish  extremely  delicate.  There  is  story  in  the 
picture,  too  ;  for  which,  note  the  longing  look  of  the  dismounted 
horseman  watching  the  movements  of  the  women,  as,  with  their 
beauty  veiled  from  him,  they  pass  to  and  from  the  Mosque. 


IOI 

PERIGNON  (ALEXIS), 


Paris. 


Medals}  1836,  ’38,  ’44  ;  Chevalier  of  the  Legion  of  Honor ,  1856. 


) 


Joan  of  Arc. 


\ 

An  imposing  figure  of  the  Maid  of  Orleans ;  less  refined  in  feature 
than  the  subject  is  usually  painted,  but  more  suggestive  of  the  in¬ 
spired  peasant  girl  than  those  more  idealistic  in  treatment.  Sim¬ 
ple  and  graceful  in  pose  and  rich,  yet  quiet  in  color,  it  is  a  paint¬ 
ing  the  worth  of  which  grows  upon  the  observer. 


43 


PERRAULT  (LEON),  Paris. 

Medal ,  1864. 

The  Dark  Beauty. 


A  very  charming1  study  of  a  young  girl’s  head,  full  of  expression,  and 
in  color  exceedingly  attractive.  The  face  is  finely  modelled,  and 
the  effect  of  light  brilliant  in  the  extreme. 


103 

PERRET  (AIME),  Paris. 

Washerwomen  at  Early  Morning. 

A  well  suggested  chapter  of  low-life  history,  telling  of  the  early  and 
arduous  labors  of  the  poor.  The  hot  and  misty  morning,  with  the 
sun  deep-veiled  by  fog  and  the  city’s  smoke,  are  well  suggested. 


104 

PLASSAN  (ANTOINE  EMILE). 

Medals ,  1852,  ’57,  ’59  ;  Chevalier  of  the  Legion  of  Honor,  1859. 

Landscape. 

A  pleasing  sketch  by  an  artist  of  great  reputation,  tender  in  color 
and  suggestive. 


105 

PORTAELS  (JEAN  FRANCOIS),  Paris. 

Medal,  1855. 


Bohemians  in  Hungary. 

A  desirable  example  of  an  artist  of  reputation,  and  one  who  has  made 
especial  study  of  gypsey  life. 

44 


io6 

PUVIS  de  CHAVANNES  (PIERRE). 

Medals,  1861,  V>4,  ’67  ;  Chevaliei'  of  the  Legion  of  Honor ,  1867. 

The  Pigeon — The  Balloon.  (A  Pair). 

Allegorical  subjects  illustrating  the  late  sufferings  of  France — the 
former,  the  genius  of  France  defending  her  against  the  enemy  ; 
the  latter,  the  expression  of  her  hope  in  the  bitterest  hour  of  her 
adversity.  Thoroughly  original  and  peculiar  subjects  by  an  artist 
of  high  rank. 


107 

ROUSSEAU  (PHILIPPE),  Paris. 

Medals ,  1845,  1848,  1855  ;  Cross  of  the  Legion  of  Honor,  1855. 

Veterans  of  the  Siege. 

This  is  assuredly  one  of  the  most  touching  of  all  the  tributes  of  sym¬ 
pathy  which  Chicago  has  received,  and  the  fullness  of  the  artist’s 
heart  is  told  in  the  lines  quoted  underneath  : 

“  Tell  them,  oh  birds  1  our  sorrow  ; 

Oh  !  fly  and  bear  our  love.” 

In  the  treatment  of  his  simple,  beautiful  and  appropriate  subject 
the  great  artist  has  shown  his  masterly  vigor  and  ability. 

108 

SAINTIN  (JULES  EMILE),  Paris. 

Medal ,  1866. 

Charity. 

This  exquisite  example  of  an  artist,  renowned  not ’only  as  a  colorist, 
but  for  the  delicate  sentiment  of  his  works,  was  painted  expressly, 
as  the  subject  readily  suggests,  for  the  benefit  of  the  Chicago  suf¬ 
ferers.  The  exhibition,  many  as  are  its  attractions,  does  not  boast 
a  more  touching  tribute,  than  this  rarely  beautiful  and  touching 
picture.  Charity,  “  which  falleth  like  the  gentle  dew,  from  Heaven,” 
was  never  more  sweetly  personified  than  it  is  here ;  whilst  apart 
from  the  merits  of  the  composition,  there  is  all  that  is  admirable 
in  the  treatment  of  the  subject:  grace  and  naturalness  of  pose, 
sympathetic  expression  and  subtle  delicacy  and  beauty  of  color 
and  finish.  This,  indeed,  must  ever  remain  a  much  prized  memento 
of  the  lively  sympathy  of  France  for  the  stricken  city  of  the  West. 

45 


109 

SCHENCK  (AUGUSTE  FRED.  ALBRECHT). 

Medal,  1865. 

The  Return  from  Market. 

Unquestionably  one  of  the  finest  works  of  this  great  artist  ever 
placed  on  exhibition  in  this  country.  The  sheep  are  painted  with 
inimitable  skill  and  fidelity ;  and  the  figure  of  the  old  market- 
woman  is  admirably  introduced.  The  winter  feeling  of  atmos¬ 
phere  and  landscape,  could  not  be  surpassed,  and  the  presence  of 
the  watchful  dog  completes  a  picture  highly  impressive  for  its 
honest  faithfulness  to  nature. 


I  IO 

SEIGNAC  (PAUL),  Paris. 


“  Our  Father  who  art  in  H  eaven.” 

Seignac  is  such  a  favorite  with  our  art  collectors,  and  is  so  well  re¬ 
presented  in  their  collections,  that  it  is  unnecessary  here  to  expati¬ 
ate  on  his  peculiar  merits.  The  charm  of  this  simple  and  beautiful 
composition  needs  no  translation.  The  trusting  faith  of  childhood 
was  never  more  touchingly  portrayed  than  in  this  peasant  child, 
who  asks  protection  during  the  day  just  born,  from  Him  who  said, 
“  Suffer  little  children  to  come  unto  me  ;  for  of  such  is  the  Kingdom 
of  Heaven.” 


I  I  I 

SOYER  (PAUL),  Paris. 

Head  of  a  Child. 

A  vigorous  and  expressive  study,  boldly  and  effectively  painted. 


I  12 

SWIFT  (CLfiMENT),  Paris. 

Scene  in  Brittany. 


A  woman  at  a  fountain,  washing.  A  choice  little  morsel ;  pleasing 
in  story  and  color. 

46 


t 


1 1 3 

TIM  BAH  (CHARLES),  Paris. 

Italy  XVI.  Century. 


The  contribution  of  an  artist  of  great  reputation  as  a  colorist.  The 
face  is  very  agreeable  in  expression,  and  modelled  with  n;ce  skill. 
The  pose  is  very  graceful  ;  the  head  upraised  as  if  in  contempla¬ 
tion  of  the  future.  The  eyes  are  full  of  feeling.  The  drapery  is 
skillfully  arranged,  and  the  effect  of  light  very  successful. 


ii4 

TODD  (JOHN  GEORGE),  Paris.  Born  at 

Canterbury,  England. 

Waiting  for  the  Owner. 


Very  delicate  in  color  and  texture ;  the  flowers  painted  with  nico  skill 
and  effectively  arranged.  The  figure  of  the  bird,  attracted  by  tha 
ears  of  grain,  is  gracefully  introduced,  and  by  the  opposition  of  its 
sombre  color  lends  additional  value  to  the  bouquet  by  which  it 
has  been  attracted. 


”5 

TOULMOUCHE  (AUGUSTE),  Paris.  ' 

Medals ,  1852  and  1859. 

His  Portrait. 

A  very  charming  specimen  of  this  favorite  colorist,  graceful  in  pose 
and  exceedingly  chaste  in  color.  The  face  is  very  expressive,  and 
skillfully  painted,  whilst  the  treatment  of  the  drapery  of  the  figure 
and  of  the  brocaded  couch  in  the  distance,  could  scarcely  be  sur¬ 
passed  for  delicacy  of  finish  and  suggestiveness  of  texture. 

47 


TRAYER  (JEAN  BAPTISTE  JULES),  Paris. 

Medals ,  1853  and  ’55. 


The  Sister  of  Charity. 

A  picture  of  rare  sentiment  and  able  execution.  The  quiet  of  the 
6ick-chamber  is  skillfully  suggested  by  the  soft  play  of  light 
and  shadow  and  unobtrusiveness  of  color  anywhere.  But  more 
than  for  its  merely  technical  qualities,  fine  as  these  are,  this  picture 
will  be  prized  for  its  most  touching  story.  The  face  of  the  good 
Sister,  as  she  feels  the  little  sufferer’s  pulse,  is  beautiful  in  its  ten¬ 
der  sympathy,  suggesting,  as  it  does,  the  grateful  pleasure  which 
she  feels  in  recognizing  that  her  patient  is  convalescent.  And  the 
trusting  and  grateful  expression  of  the  child’s  face  is  touching  in 
the  extreme.  The  emotion  such  a  pure  and  beautiful  work  must 
excite  in  all  who  look  upon  it,  will  be  the  best  praise  it  can  receive. 


n  7 

VALADON  (JULES  EMMANUEL),  Paris. 

Still  Life. 

A  very  desirable  study. 

1 1 8-  V  ; 

VERNE T  LECOMTE  (EMILE),  Paris. 

Medals ,  184(5,  1863/  Cross  of  the  Legion  of  Honor,  1864. 

A  Persian  Maiden. 

One  of  the  gems  of  this  brilliant  collection,  a  superb  piece  of  color. 
The  face  of  the  maiden  is  wonderfully  expressive  of  the  trusting 
simplicity  of  girlhood,  the  pose  of  the  figure  easy  and  g'-aceful, 
and  the  drapery,  in  both  form,  color  and  suggestion  of  texture,  ad¬ 
mirably  painted  and  eminently  picturesque. 

48 


1 19 

VERNET  (HORACE).  The  contribution  of 

Goupil  &  Co.,  of  Paris.  /  3  6  6 

Allan  Macaulay. 

This  exquisite  work  of  art,  the  subject  of  which  is  one  of  the  heroes 
of  Sir  Walter  Scott,  is  one  of  the  finest  specimens  in  existence  of 
one  of  the  greatest  artists  France  has  known.  It  would  be  indeed 
a  work  of  supererogation  to  write  of  its  merits  here.  The  connois¬ 
seur  will  readily  recognize  them  ;  while  subject  and  treatment  are 
such  as  to  attract  and  charm  the  youngest  student  of  form  and 
color.  There  remains,  however,  a  story  to  tell  about  the  picture, 
of  exceeding  interest,  and  accounting  for  the  presence  of  a  work 
of  such  exceptional  interest  and  great  value  in  this  collection  of 
donations. 

From  documents  before  us  we  learn  that  this  picture  was  painted 
by  Horace  Vernet  in  1823,  for  the  Duke  of  Orleans,  in  whose  col¬ 
lection  it  was  then  placed.  Whilst  there,  it  was  a  special  favorite 
of  the  Citizen  King,  Louis  Philippe,  into  whose  p  >ssession  it  passed 
after  the  Duke’s  death.  It  was  hung  in  the  King’s  study  at  Neuilly, 
where  it  was  when  the  revolution  of  1848  occurred.  The  palace  of 
Neuilly  was  almost  completely  destroyed  by  fire,  but  in  that  por¬ 
tion  saved  was  the  King’s  study,  and  in  it  this  picture.  Neverthe¬ 
less,  after  the  fire,  it  was  discovered  that  the  picture  had  been  car¬ 
ried  off.  It  was  presumed  that  it  was  stolen  by  some  thief  who 
knew  its  value;  but  all  efforts  to  recover  it  were  fruitless,  and  the 
work  was  set  down  as  lost.  Twenty-three  years  later,  at  a  sale  at 
the  Hotel  Drouot,  it  was  bought  by  Goupil  &  Co.,  of  Paris,  its 
history  unknown  to  them.  With  them  it  remained  a  valuable 
and  esteemed  work,  hidden  away  with  many  other  treasures,  until 
the  appeal  was  made  for  the  Chicago  sufferers  ;  when  Goupil  &  Co. 
concluded  to  contribute  it,  as  their  donation.  During  the  exposi¬ 
tion  of  this  and  the  other  contributions  at  Goupil's  gallery,  prior 
to  their  shipment  here,  among  the  visitors  were  the  Orleans  princes. 

As  soon  as  the  Duke  de  Montpensier  came  to  this  picture 'he 
started  and  exclaimed  to  his  brother,  “  Why,  here  is  our  dear 
father’s  own  picture !”  And  so  it  was,  the  veritable  Horace  Vernet, 
the  favorite  picture  of  King  Louis  Philippe.  There  was  of  course 
much  expression  of  delight  and  surprise,  and  Mr.  Goupil  at  once 
offered  to  return  the  picture  to  the  princes  as  their  property ;  but  after 
consulting  with  each  other,  they  decided  to  leave  it  in  the  collection, 
even  had  they  a  right  to  its  possession,  which  they  doubted,  saying 
that  they  will  be  but  too  happy  in  knowing  that  America  possesses 
a  picture  for  which  their  father,  the  king,  had  such  affection. 

When  this  story  got  abroad  in  Paris,  very  large  offers  were  made 
on  all  sides  for  the  picture,  by  connoisseurs,  but  as  it  had  already 
been  donated  to  Chicago,  no  price  could  buy  it. 


49 


120 


VERNIER  (EMILE),  Paris.  Presented  by 

Goupil  &  Co. 

In  the  Country. 


A  good  specimen  of  the  breadth,  vigor,  and  suggestiveness  of  the 
French  landscape  school. 


iO  ■ 

I  2  I 

VOLLON  (ANTOINE),  Paris. 

Medals,  1865, 1868  and  1869. 

Fishing  Boats  going  out  to  Sea. 


This  painting  is  a  notable  example  of  the  breadth  and  vigor  of  this 
great  artist’s  manner.  But  very  few  of  Yollon’s  pictures  have  been 
imported  here,  as  they  command  the  highest  prices,  for  such  class 
of  works,  of  any  sold  in  Paris. 


122 

WASHINGTON  (GEORGES). 

Caravan  in  the  Desert. 

An  important  and  highly  impressive  picture,  suggesting,  with  re¬ 
markable  vigor  and  success,  the  arid  waste  of  the  desert,  its  hot 
sand  and  hotter  atmosphere  ;  and  the  weary,  yet  patient  look  of  the 
great  animals  tells  us  of  the  toilsome  march. 

This  is  a  work  of  power,  painted  with  thorough  appreciation 
of  the  subject  and  in  a  broad  and  masterly  way.  A  donation  of 
great  value. 

50 


123 

WILLEMS  (FLORENT),  Paris. 

Medals,  1844,  ’40,  ’55,  ’67  ;  Chevalier  of  Legion  of  Honor ,  1853/ 
and  Officer  of  the  Legion,  1864. 

The  Spring  Time. 

A  brilliant  example  of  this  great  artist,  unrivaled  in  his  painting  of 
subjects  of  the  class  here  represented.  The  dignity  and  grace  of  this 
charming  figure  could  not  be  surpassed,  or  the  delicacy  of  finish 
and  skillful  arrangement  of  drapery  excelled.  Paint  never  suggested 
better  the  texture  of  things  .than  under  the  brush  of  Florent  Wil¬ 
lems.  His  faces  beam  with  intelligence  ;  his  flowers  are  fragrant ; 
his  satin  glistens ;  every  inch  of  the  canvas  proclaims  the  master. 


124 

WORMS  (JULES),  Paris. 

Medals,  1867,  ’68  and  ’69. 

A  Spaniard. 

A  covetable  example  of  an  artist  of  great  reputation,  richly  posed, 
carefully  painted  and  pleasant  in  color. 

s  •  '  *  -s  )>  V  '  J 


125 

WYLD  (WILLIAM),  Paris. 

The  Palace  of  the  Doges. 


3  b  G 


The  famous  view  of  the  Grand  Canal  at  Venice,  with  the  palace  of  St. 
Marks  in  the  distance,  and  the  crowded  wharfs  to  right  and  left. 
This  artist  has  a  European  reputation  for  his  treatment  of  archi¬ 
tectural  subjects 

('■  p 

51 


1 26 


YON  (EDMOND  CHARLES),  Pans* 

Country  and  Town. 

A  thoroughly  able  and  effective  sketch  of  the  environs  of  an  old 
French  town. 


62 


ATER- 


OLOPv 


AINTINGS 


AND 


DRAWINGS. 


1 28 

AZE  (MADAMOISELLE), 

Flowers. 


Paris. 


A  very  graceful  and  careful  drawing  of  roses,  with  leaves  and  stems, 
in  black  and  white  crayon. 


129 

BARTHOLDI  (FRED’K  AUGUSTE),  Paris. 

Green  River — Rocky  Mountains. 


A  broad  and  vigorous  sketch  in  water  colors,  with  river  and  abutting 
rocks,  and  figure  in  the  foreground. 


130 

BELLANGE  (EUGENE), 

The  Zouave. 


Paris. 


The  figure  of  a  soldier — a  zouave — seated  in  an  easy  and  natural  po¬ 
sition  ;  his  gun  resting  in  one  hand,  and  in  the  other  his  pipe. 
The  expression  of  his  face  suggests  the  eager  listener — to  a  story, 
may  be,  told  by  a  comrade  opposite.  The  color  is  subdued  but 
effective ;  and  the  work  throughout  able  and  satisfactory. 


53 


BOURGOIN. 


Landscape. 

A  bold  and  brilliant  sketch,  in  the  broad  manner  of  the  English 
school ;  good  sky  and  luminous  distance. 


132 

BROCHART  (CONSTANT),  Paris. 


Coquetry. 

Head  and  bust  of  a  young  girl,  in  pastel,  with  the  face  and  head 
carefully  modelled,  and  drapery  skillfully  painted.  Brochart  holds 
first  rank  as  a  pastel  painter,  and  this  is  a  fine  example  of  his  works. 


0 


1 33 

CHABAL  (DUSSURGEY),  Paris. 

Flowers. 

A  very  beautiful  wreath,  in  neutral  colors  and  wrought  with  both 
brush  and  crayon.  The  rare  charms  of  this  most  pleasing  picture 
are  in  its  careful  and  correct  drawing,  nice  modulation  of  forms,  and 
the  grace  of  its  general  arrangement. 


i34 

CICERI  (EUGENE). 

A  River  View — at  Evenino-. 

A  very  pleasing  composition,  replete  with  the  sentiment  of  the  hour  ; 
the  color  subdued  but  ric'i.  The  water  is  very  transparent,  and 
the  twilight  sky  broad  and  effective. 

54 


Paris. 


DESCHAMPS  (Mme.), 

The  Trap. 


A  charming  little  gem,  iu  water  colors,  after  an  oil  painting  by  Du- 
vergor. 


136 

EHRMAN.  Paris. 

The  Fan. 


An  exceeedingly  graceful  design  for  a  fan  ;  very  rich  in  color,  and 
with  figures  of  cupids  nicely  and  suggestively  posed  ;  that  of  the 
medallion  in  the  centre  being  mounted  on  a  bird,  and  distributing 
the  fires  of  passion  as  he  speeds  .through  the  air. 


137 

GIRARDET  (EDOUARD),  Paris. 

The  Terrors  of  War. 


A  sad  and  touching  reminiscence  of  the  miseries  that  wait  on  war. 
A  mother  and  her  child  weep  and  pray  over  the  dead  body  of  the 
husband  and  father.  In  the  distance  the  old  grandmother  covers 
her  face  and  gives  way  to  grief ;  and  still  more  distant  is  seen  the 
terrible  strife  going  on.  Alas  !  but  too  true  a  picture  of  that  which 
has  so  lately  been. 


r38  g  0 

GIRARDIN  (Mme.  PAULINE,  Paris.  ' 

Flowers. 

I 

A  very  beautiful  work,  in  water  colors ;  giving  us  the  tall  purple  lily 
of  the  river’s  bank,  with  its  long  sword-like  blades  and  companion 
grasses.  Very  pleasing  in  its  richness  and  transparency  of  color. 

55 


139 

HARPIGNIES  (HENRY),  Paris. 

» 

Landscape. 

A  fine  sketch,  in  water  colors,  of  a  brook,  brook’s  bed,  rocks  and 
trees,  very  pleasing  in  color. 

140 

HARPIGNIES  (HENRY),  Paris. 

The  Tuileries. 

A  strong  and  masterly  sketch,  giving  us  a  view  of  the  palace  of  the 
Tuileries,  the  bridge  and  quay,  from  the  opposite  side  of  the 
Seine;  with  steamboat  lying  at  the  wharf,  and  crowds  of  people 
on  the  docks. 


141 

HUBERT  (ANTOINE-AUGUST-ERNEST), 

PqriC 

Italian  Girl. 

Very  pleasing  in  color  and  graceful  in  pose,  representing  the  primi¬ 
tive  ways  of  the  washerwomen  of  Italy ;  who,  whilst  they  really 
do  surpass  our  washerwomen  in  picturesqueness  of  costume,  would 
be  infinitely  more  at  ease  if  they  had  less  of  it,  and  knew  the 
value  of  the  machine  and  the  patent  wringer. 


rt> 


142 

LAURENS  (JOSEPH-AUGUSTIN),  Paris. 

Studies  from  Nature. 


Three  careful  and  able  studies  of  tree  form  and  foliage;  nice  in 
gradation,  and  presenting  bold  and  graceful  forms  against  tinted 
backgrounds. 

56 


Paris. 


143 

LEHOUX  (PIERRE  FRANgOIS), 

A  Souvenir  of  Bareges. 

A  good  charcoal  study  of  the  bed  of  a  mountain  torrent ;  with  strong 
effect  of  light  on  the  nearer  rocks. 


144 

MARCEL,  Paris. 

The  Tiger. 

A  vigorous  sketch,  in  pen  and  ink. 


<2<2  so 


145 

MEISSONIER  (JEAN-LOUIS-ERNEST), 

Paris. 

Medals,  1840,  ’41,  ’43,  ’48  ;  Grand  Medal  'of  Honor,  1855  ;  Chevalier 
of  the  Legion  of  Honor,  1 846  ;  Officer  of  the  Legion  of  Honor,  1856 ; 
Commander  of  the  Legion  of  Honor,  1887. 


Soldier  of  the  Time  of  Louis  XIII. 


A  remarkably  fine  example  of  this  great  painter ;  superb  in  color 
and  finished  in  the  most  exquisite  manner.  There  is  probably  no 
finer  example  of  the  artist  than  this  in  the  country.  There  may 
be  larger  paintings  in  oil;  but  it  is  questionable  if  any  of  these 
is  more  thoroughly  satisfactory  in  all  its  parts  than  this.  The 
pose  of  the  soldier  is  one  of  great  ease  and  dignity,  as  he  stands 
awaiting  the  attack  of  an  enemy.  The  face  is  wonderfully  ex¬ 
pressive  ;  the  eye,  keen  and  searching,  is  full  of  life,  and  the  firm- 
set  mouth  suggests  courage  and  determination.  The  relief  of  the 
figure,  against  the  rich,  warm  background,  is  most  skillfull v 
realized,  and  drapery  and  casque  modelled  with  groat  subtlety  and 
success.  This  will  be  a  prize,  indeed,  for  the  connoisseur  who  suc¬ 
ceeds  in  securing  it  for  his  collection ;  and  one  which  cannot  fail 
to  attract  as  many  admirers  as  any  other  work  of  the  great  artist, 
in  any  medium,  ever  exhibited  with  Us. 


•% 


57 


I'f 

146 

MERY  (ALFRED  EMILE),  Paris. 

A  Court- Yard. 

A  broadly-treated  impasto — the  interior  of  a  court-yard,  with  birds, 
seeking  food,  on  the  ground  and  on  the  wing.  Very  carefully 
painted;  sober  in  color,  yet  quite  effective. 

SiT 

147 

MOULIGNON  (LEOPOLD  de),  Paris. 

The  Dogs  -The  Rabbits.  (A  pair). 

Two  good  charcoal  studies ;  pleasant  in  story  and  carefully  drawn 
and  modelled. 

I48 

RICHOMME  (JULES),  Paris. 

A  Paris  P'ortification. 

The  interior  of  a  fort ;  a  careful  study,  in  water  colors. 

iso 

149 

VI BERT  (GEORGES  JEHAN),  Paris. 

Medals,  1834,  ’67  and  ’68. 

Smoker  of  the  Time  of  Louis  XV. 

A.  brilliant  example  of  this  great  colorist,  representing  a  cavalier, 
returned  from  a  long  ride,  taking  a  rest  and  smoking.  The  picture 
is  noticeable  for  the  natural  abandon  of  the  figure  and  for  the 
rich  color  which  pervades  it ;  the  whole  being  managed  with  the 
masterly  certainty  of  touch  of  the  accomplished  artist. 

58 

150 

VEDAL  (VINCENT),  Paris. 


Memories. 


A  very  delicate  and  pleasing  drawing,  in  tints,  of  the  head  and  bust 
of  a  young  and  beautiful  girl.  The  pose  eminently  easy,  and  face 
expressive. 


i5i 

VVYMBS  (MADELINE), 

First  Grief. 


Paris. 


A  crayon  drawing  of  a  child,  with  her  pet  bird  dead  in  her  lap,  and 
her  face  expressive  of  her  sorrow  at  this,  her  first  great  loss. 


- H - 

152 

BARTHOLDI  (FRED’K  AUGUSTE),  Paris. 

Chevalier  of  the  Legion  of  Honor,  18G5. 

The  Good  Samaritan. 

A  very  pleasing  and  impressive  group,  telling  the  Scripture  story 
most  sat  sfactorily,  the  faces  of  both  figures  being  beautifully 
expressive,  and  forms  posed  and  modelled  with  masterly  knowl¬ 
edge  and  power. 


.  1 53 

FREMIET  (EMMANUEL), 

Medals,  1849,  ’51,  ’55  and  ’0 7  ;  Chivalier  of  the  Legion  of  Honor, 

1860. 

Le  Due  d’Orleans. 

A  noble  statuette,  in  bronze,  of  a  knight  in  armor,  mounted  on  his 
war-horse,  and  with  his  lance  in  rest.  The  figures  of  both  horse 
and  knight  are  modelled  with  great  skill,  and  highly  impressive 
in  their  dignified  repose.  The  details  of  the  costume  and  armor 
of  the  knight,  and  of  the  caparison  of  his  steed,  are  modelled  with 
the  nicest  skill. 


60 


CONTRIBUTIONS 


OF  THB 

DUSSELDORF  ARTISTS. 


. 


THE  DUSSELDORF  COLLECTION. 


CONTRIBUTIONS  OF  THE  ARTISTS  OF  DUSSELDORF. 


This  collection  of  objects  of  Art  is  the  result  of  the  contribu¬ 
tions  of  the  Artists  of  Dusseldorf,  who  were  appealed  to  by  Prof. 
Carl  Hiibner. 

The  following  letter  from  Prof.  Hiibner  was  followed  by  the  forma¬ 
tion  of  the  Committee  therein  suggested. 


CARL  HUBNER’S  LETTER. 

“Dusseldorf,  December  5th,  1871. 
“  To  the  Honorable  Ladies'  Committee  in  New  York  : 

“The  terrible  disaster  which  has  befallen  Chicago  has  induced 
me  to  call  upon  my  friends  and  colleagues  in  this  place  to  unite 
with  me,  and  by  a  donation  of  pictures,  sketches,  drawings  and 
engravings,  to  relieve  the  distress  of  our  countrymen  in  that  city. 
I  take  pleasure  in  stating  that,  as  yet,  one  hundred  and  twelve 
subscriptions  have  been  received.  These  pictures  will  be  entered 
at  New  York  free  of  duty.  The  directors  of  the  North  German 
Lloyds  Company  have,  in  the  most  liberal  manner,  assured  me 
that  the  same  will  be  sent  from  Bremen  free  of  expense. 

‘  ‘  I  now  take  the  liberty,  honorable  ladies,  to  propose  the  request 
that  you  have  the  kindness  to  take  everything  farther  upon  your¬ 
selves,  in  order  that  those  works  of  art  may  be  exhibited  in  New 
York  by  themselves  alone,  and  then  disposed  of  at  public  auction; 
and  by  this  means,  and  your  co-operation,  I  think  our  object  will 
be  attained  to  the  best  advantage.  I  leave  it  to  you,  honorable 
ladies,  to  apply  the  proceeds  which  are  hereby  obtained,  in  the 
way  intended  by  the  givers,  and  as  circumstances  demand. 

“Awaiting  your  respected  answer,  I  am  with  great  esteem, 

Carl  Hubner.” 


MR.  APPLETON’S  REPLY. 

“New  York,  January  10. 

“ Professor  Carl  Hiibner ,  Dusseldorf  : 

“  Dear  Sir:  Your  favor  of  the  5th  of  December  addressed  to  the 
‘Ladies’  Committee  of  New  York,  offering  a  donation  of  one  liun- 

63 


dred  and  twelve  pictures,  drawings  and  sketches  for  exhibition  and 
sale  in  behalf  of  your  countrymen  who  are  sufferers  by  the  recent 
Chicago  fire,  has  been  duly  received. 

“As  no  committee  of  the  character  addressed  exists  in  New 
York,  it  has  been  deemed  only  proper  at  once  to  organize  such  a 
body  for  the  purpose  of  receiving  the  noble  gift,  and  carrying  out 
the  generous  design  of  yourself  and  brother  artists.  The  names 
of  the  ladies  forming  this  committee,  to  which  those  of  a  fe>v  well- 
known  citizens  have  been  added,  are  appended  to  this  letter. 

“The  pleasing  duty  has  devolved  upon  me  of  acknowledging 
the  receipt  of  your  communication,  and  of  thanking  you  in  the 
name  of  the  committee  of  ladies  for  this  munificent  offering  to  the 
poor  and  suffering  of  your  countrymen  by  the  recent  great  calam¬ 
ity  at  Chicago.  With  sentiments  of  great  respect,  believe  me  very 
sincerely  yours,  William  H.  Appleton.” 

On  the  receipt  of  this  Communication  the  Committee  was  form¬ 
ed  as  follows : 

LADIES. 

Mbs.  A.  Belmont, 

“  S.  L.  M.  Barlow, 

“  L.  von  Hoffman, 

“  J.  J.  Astor, 

“  Robt.  L.  Stuart, 

“  W.  H.  Appleton, 

“  E.  D.  Morgan, 

“  .  Lloyd  Aspinwall 

;  “  P.  Lorillard, 

“  R.  L.  Cutting. 

Prior  to  their  transmission  to  New  York,  the  Dusseldorf  con¬ 
tributions  were  exhibited  at  the  gallery  of  Mr.  Leopold  Conzen, 
at  Dusseldorf,  who  gave  his  valuable  assistance  in  collecting  and 
forwarding  the  works.  They  were  transmitted  free  of  charge  by 
the  respective  Railroad  Companies  en  route  to  Bremen,  and 
thence  by  the  North  German  Lloyds  Steamship  Company  to  New 
York. 


GENTLEMEN. 

Mr.  W.  LI.  Appleton, 

Chairman. 
“  A.  T.  Stewart, 

“  A.  Belmont, 

“  Robert  Hoe, 

“  M.  Knoedler. 


CATALOGUE. 


1 6 1 

ACHENBACH  (ANDREAS),  Dusseldorf 


Landscape. 


A  vigorous  sketch  of  this  great  master. 


162 

ANDERS,  Dusseldorf. 


Child’s  Head. 


A  bright  little  study. 


163 

ANDRE,  Dusseldorf 

Landscape. 


Lake  and  landscape;  with  fine  effect  of  sky,  and  rich  in  color 
throughout. 


65 


164 


Dusseldorf. 


ARNZ  (ALBERT), 

Capri. 

View  of  the  village  of  Capri  ;  the  Bay  of  Naples  and  Vesuvius  in  the 
distance.  Broadly  painted  and  effective  in  color.  A  very  pictur- 
(  esque  subject. 


165 

ARNZ  (ALBERT), 

Landscape. 


Dusseldorf. 


Another  generous  contribution  from  this  artist,  giving  us  a  pleasing 
pastoral  with  village  in  the  distance,  and  autumn  wealth  of  fruit 
and  grain  in  the  foreground,  figure  and  cattle. 


166 


ASCHEN  BROICH, 


Dusseldorf. 


The  Young  Mother. 


Figure  of  a  little  girl  with  her  dolly. 


l67 

ASCHEN  BROICH,  *  Dusseldorf. 


Madonna. 

A  carefully  painted  picture  of  the  Madonna  and  Child.  The  faces 
are  pleasing  and  the  drapery  agreeable  in  form  and  graceful  in  its 
color. 

66 


1 68 


BAUER  (A.),  Dusseldorf. 

3$ 

Girl  and  Butterflies. 

A  young  girl  in  an  arbor,  with  butterflies  alighting  on  her  hands 

.  f 

and  dress  ;  quite  brilliant  in  color. 


I69 

BECKMANN  (LUDWIG), 

Buffaloes. 


Dusseldorf. 


A  prairie  scene  with  two  buffaloes  in  the  foreground  and  the  herd  in 
the  distance. 


I  70 

BERMUTH  (von),  Dusseldorf.  c do 

Landscape. 

A  pleasing  little  landscape,  with  storm  cloud  and  rainbow  effect  ; 
cattle  in  the  foreground. 


171 

BERNARDI,  Dusseldorf. 

Landscape. 


A  very  pleasing  and  effective  little  picture;  scene  on  the  edge  of  a 
wood  ;  hut  and  figure  of  a  woman  in  the  foreground-. 


67 


BERRIKE  (F.), 


Dusseldorf. 


1 

Prayers  for  Peace. 

A  gathering  of  German  villagers  at  a  shrine,  supplicating  for  peace 

Htf 

173 

BODE  (W.),  Dusseldorf. 

Swiss  Landscape. 

/  cr° 

1 74 

BOTTCHER  (PAULINE,  von),  Dusseldorf. 

Still  Life. 

A  very  strong  and  effectively  treated  group  of  flowers,  fruit,  and  a 
German  drinking  glass.  The  color  is  pleasing,  and  general  ar¬ 
rangement  of  objects,  drawing  and  painting  very  successful. 

175 

BUND  (W.),  Dusseldorf 

Study  of  a  Head. 

68 

176 


BUTLER  (JAS.)  Dusselclorf. 


Swiss  Landscape. 


1 77 

DAHLEN  (REINERT),  Dusseldorf 

Winter  Landscape. 

Scene  on  the  edge  of  a  forest,  with  deer  and  hut.  A  fox  is  seen  in  the 
foreground,  struggling  through  the  snow. 


178 

DEIDERS  (H.),  Dusseldorf. 


Landscape. 

A  pleasant  passage  of  lake  scenery,  with  cool  quiet  color,  still  water, 
and  agreeable  general  effect. 


179 

DEIKER  (C.  F.)  Dusseldorf 

Dogs  Head. 

A  good  sketch  of  a  terrier’s  head— a  student’s  pet,  doubtless,  with  a 
piece  of  chalk  on  his  nose,  waiting  the  word  of  command. 


69 


i8o 


DUNTZE  (T.), 


Dusseldorf 


Swiss  Landscape. 


A  very  careful  and  pleasing  painting,  with  a  brilliant  effect  of  light 
in  the  sky  and  on  the  more  distant  waters  of  the  lake.  The  fore¬ 
ground  is  painted  skillfully  in  shadow,  and  the  whole  effect  is  pre¬ 
eminently  picturesque. 


1 8 1 

EBEL  (F.),  Dusseldorf. 

German  Woods. 

A  good  little  sketch  of  a  wood  interior  with  figures. 


l82 


ERDMANN  (OTTO),  Dusseldorf 


Lost  in  Thought. 

A  very  charming  study  of  the  head  of  a  young  girl,  and  suggestive  of 
that  pensive  melancholy  that  waits  on  love. 


183 

EVERS  (H.),  Dusseldorf 

The  Happy  Mother. 

A  very  pleasing  little  sketch  of  mother  and  baby. 

70 


/ 


FABARIUS  (F.  W.), 

Marine. 


Dusseldorf. 


View  of  a  light-house,  with  rough  sea  and  threatening  sky  ;  a  steamer 
in  the  distance. 


•85 

FAHRBACH  (F.  W.),  Dusseldorf. 

On  the  Neckar. 

A  luminous  landscape  with  a  view  of  the  river;  path  through  the 
woods  in  the  foreground. 


186 

FAIRMAN  (JAS.), 

Twilight. 


Dusseldorf 

$3" 


An  old  English  church  by  twilight,  with  a  brilliant  effect  of  sky  and 
cool  shadowy  foreground. 


FLAMM  (A.), 


187 

Dusseldorf. 


Landscape. 


A  brilliant  sketch  of  a  village  at  the  foot  of  a  mountain  ;  with  a 
strong  effect  of  light  in  the  distant  sky. 


71 


FRIEDICHSEN  (F.), 


Dusseldorf. 


The  Sick  Mother. 


A  German  interior,  carefully  painted,  with  figures  effectively  intro¬ 
duced,  and  telling  the  story  of  the  invalid  mother’s  recovery  very 
agreeably.  There  is  nice  realization  of  the  quality  of  things  in 
this  honest  piece  of  work. 


I89 

FRISCHE  (FI.),  Dusseldorf. 

The  Mountain  Torrent 

An  excellent  study  of  water  in  motion,  boldly  and  effectively  painted, 
and  with  rocks  and  landscape  carefully  rendered. 


190 

GEBFIARD  (ED.),  Dusseldorf. 


The  Mendicant. 


Study  of  a  head  and  bust. 


I()I 

GEGERFELD  (W.  von), 

Landscape. 


Dusseldorf. 


72 


GEGERFELD, 


I92 


Dusseldorf. 


Landscape. 


193 

GERTZ  (JULIUS),  Dusseldorf. 

Landscape.  3  6 

A  bold  sketch  ;  early  morning  ;  sportsman  setting  oat. 


194 

GRABER  (F.),  Dusseldorf. 

Landscape. 

A  lonely  scene  in  the  woods,  with  still  water  in  foreground,  and  deer. 

195 

HANNAN  (von). 

Landscape. 

An  effective  little  study. 


JL6 


196 


HELANDER, 


Dusseldorf. 


The  Lover  s  Visit. 


A  pleasing  composition,  telling  its  interesting  story  well.  The  faces 
are  quite  expressive,  and  the  figures  carefully  drawn  and  colored. 
There  is  the  evidence  of  care  also  in  the  painting  of  the  interior. 

73 


HELANDER, 


Dusseldorf. 


The  Farewell. 

Another  pleasing  composition  by  the  same  artist,  depicting  an  inci¬ 
dent  in  the  recent  war  history  of  Germany, 


I98 

HENNERT  (F.),  Dusseldorf. 

Landscape. 

Carefully  painted  view  of  mountain  and  lowland ;  good  tree  painting 
in  foreground. 


199 


HENRICI  (FRAULEIN),  Dusseldorf.  • 


Moonlit  View. 

A  careful  and  effective  little  painting,  with  moonlight  well  suggested. 


200 

HIDDEMANN  (F.),  '  Dusseldorf. 


The  Prisoner. 

£  T 

Sketch  of  an  old  man  in  prison,  who  whiles  away  his  heavy  hours  by 
tracing  forms  upon  his  drinking  mug. 

74 


201 


HOFF  (CARL),  Dusseldorf. 

Meditation. 

A  figure  of  a  young  girJ,  seated,  lost  in  thought. 


lfi> 


202 


v.v 


HOFFMANN, 


Dusseldorf. 


Solitude. 


A  low-toned  landscape,  on  the  borders  of  a  river;  with  cranes. 


203 


HORNEMAN  (A.), 


Dusseldorf 


J  dO 


The  Spinner. 


A  vigorous  sketch  of  an  interior  of  barn,  with  woman  spinning. 


204 


HUBNER  (JULIUS), 

Simplicity. 


Dusseldorf. 


Figure  of  a  young  girl  in  an  attitude  of  prayer. 


75 


205 

HUBNER  (CARL,  Prof.),  Dusseldorf. 

The  Stricken  Home. 


In  this  touching  subject  Prof.  Hubner  has  given  us  a  fine  example  of 
both  his  sentiment  and  his  skill,  and  one  which  cannot  fail  to  ap¬ 
peal  forcibly  to  all  sympathizers  with  the  sufferers  in  whose  behalf 
these  generous  donations  have  been  made.  For  here  the  artist  has 
typified,  in  the  most  graceful  way,  the  sorrows  which  wait  on  the  de¬ 
structive  element  that  laid  Chicago  low.  We  have  the  ruined 
home,  the  smoke  still  rising  from  the  debris ;  to  which  the  girl 
has  come  in  search  of  her  little  favorite.  The  fire  has  not  even 
spared  the  bird-cage  which  she  carries  in  her  hand  ;  whilst  her  fa¬ 
vorite  robin  lies  dead  upon  the  ground.  The  simple  naturalness  of 
the  child,  the  sorrow  which  overflows  in  tears,  and  her  evident  re¬ 
luctance  to  leave  the  spot  so  dear  to  her,  are  eminently  touching  ; 
so  much  so,  indeed,  that  few  will  look  upon  this  picture  and  fail  to 
share  with  her  her  grief.  In  technique  the  painting  is  no  less  a 
good  specimen  of  the  artist  ;  exhibiting  his  careful  treatment  of  de¬ 
tails,  conscientious  realization  of  the  quality  of  things,  and  pleasing 
and  effective  disposition  of  color. 


•  '  r  l  * 

206 

IRMER(C.),  Dusseldorf. 

Landscape. 


207 


ITTENBACH  (Prof.),  Dusseldorf 

Jesus  and  the  Woman  of  Samaria. 


/ 


A  very  beautiful  example  of  this  great  artist,  distinguished  for  the 
delicacy  of  his  work  and  the  religious  feeling  which  pervades 
them.  The  figures  are  gracefully  posed  and  drawn,  and  finished 
with  great  care  ;  the  color  quiet  but  pleasing. 

76 


208 


JACOBSEN,  Dusseldorf. 

Winter  Landscape. 


209 

JANSEN,  Dusseldorf. 


On  the  Danube. 


A  brilliant  landscape,  with  fine  effect  of  sky,  and  motion  of  river  ad¬ 
mirably  suggested. 


2  10 


JERNBERG,  Dusseldorf. 

Study  of  a  Head. 

•  •  -  -  •  —  -  >r  -v 

A  careful  study  with  the  head  gracefully  posed,  and  face  pleasing 
and  expressive. 


21  I 


JNGENMEY. 

Union  is  Strength. 


//G 


A  group  of  united  German  soldiers,  drinking  on  the  battle-field  after  a 
victory. 


77 


212 


J RELAND  (E.  A.),  Dusseldorf. 

Wood  Interior. 

* 

213 

JUNGHEIM  (CARL).  Dusseldorf. 

In  the  Cool  Shade. 

A  pleasing  view  of  lake,  with  a  farm-house  on  its  border.  The  cattle 
are  coming  down  to  drink  and  rest  in  the  cool  shadow  of  the  rocks 
and  trees,  which  are  the  prominent  objects  of  the  picture.  Boat¬ 
men  are  seen  upon  the  lake,  and  a  village  at  the  foot  of  the  dis¬ 
tant  mountain. 

2  14 

KAELENBERG  (A),  Dusseldorf. 

Landscape. 

21S 

KESSLER  (A.),  Dusseldorf. 

Landscape. 

A  very  pleasing  low-toned  picture,  carefully  painted  and  agreeable  in 
color. 

78 

✓ 

2l6 


V. 


4T> 

A  masterly  sketch,  showing  the  interior  of  the  arena  at  a  bull-fight, 
with  the  excited  bull  attacking  a  picador ;  in  the  distance  the 
crowd  of  spectators. 


KINDLER  (A.),  Dusseldorf. 

The  Bull  Fight. 


2 1  7 

KLEIN  (W.),  Dusseldorf. 

Landscape. 

A  brilliant  little  specimen,  very  picturesque  in  subject ;  with  agree¬ 
able  effect  of  light. 


2  I  8 

KOLITZ  (L.),  Dusseldorf. 

Road  Scene. 


A  very  suggestive  sketch  ot  a  shady  road,  with  figures  walking  un¬ 
derneath  the  trees  and  donkey  cart  with  driver  making  towards 
the  city. 


2  19 

KRONER  (C.),  Dusseldorf 

The  Wounded  Boar. 


A  winter  scene,  with  huntsman  in  the  distance,  and  boar,  wounded, 
trying  to  escape,  followed  closely  by  a  dog. 


79 


220 


KRUGER,  '  Dusseldorf. 


Italian  Landscape. 

A  very  charming  picture,  painted  with  nice  care  and  most  pleasing 
effect.  The  subject  is  very  picturesque  ;  giving  us  the  ruins  of  an 
old  fort  in  the  foreground,  with  mountain  pass  ;  in  the  distance, 
the  town  at  the  foot  of  the  mountain,  and  to  the  right  the  blue 
waters  of  the  bay.  In  both  subject  and  treatment  this  will  be 
esteemed  as  among  the  most  satisfactory  pictures  of  the  Dusseldorf 
collection. 


221 


LANGE  (FRITZ),  Dusseldorf. 


Chickens. 


A  very  carefully  painted  picture,  and  pleasing  in  color. 


/ 


222 

LASCH  (Prof.),  Dusseldorf. 


Study  of  a  Head. 

Carefully  modeled  and  expressive. 


223 

LEINEWEBER, 


Landscape. 

80 


Dusseldorf. 


LERCHE. 


224 


Architectural  Subject. 


LEWIS  (H.), 


225 

Dusseldorf. 


Lake  View. 


226 


LOYSFOOD. 


The  Poacher. 


227 

LUDWIG  (C.),  Dusseldorf. 

Landscape. 


228 

LUDWIG  (FRAU  EE  IN),  Dusseldorf. 

The  Pet. 

A  very  pleasing  little  picture  of  a  chila,  vvitli  pretty  and  expressive 
face ;  carefully  painted. 


81 


METZNER  (A.) 


3* 

Alpine  Scene. 

A  very  picturesque  scene  ;  view  of  chalet  in  middle  distance,  Alpine 
heights  in  background  ;  good  effect  of  sky  and  color  ;  pleasing 
throughout. 

3* 

230 

MUCKE. 

Fishermen. 

stf- 

231 

MUNSTE  (L.) 

Wood  Interior. 

#fO 

232 

NORDENBERG  (B.) 

Return  of  the  Hero. 

A  very  telling  story  of  peasant  life  in  Germany.  Mother  and  child 
on  horseback  in  foreground,  followed  by  the  herdsman  and  herd. 

233 

NORDGRUN. 

Under  the  Willows. 

A  very  pleasing  picture,  with  careful  painting  of  willow  overhang¬ 
ing  a  trout  pond.  Solitary  fisherman,  intent  upon  his  employment, 
is  playing  for  a  trout.  Good  effect  of  light  and  distance. 

82 

NORDPEU. 


23  4 


)  ■=) 

The  Deer-stalking. 


An  effective  winter  scene  among  tlie  Alps,  with  herd  of  deer  in  the 
distance,  and  huntsman  in  foreground.  There  is  pleasing  effect  of 
atmosphere  in  this  picture,  and  careful  realization  of  rocks  in  the 
foreground. 


OEDER. 


235 


Landscape. 


OSSERLEY. 


2  37 

PAHL  (von),  Dusseldorf. 

A  Sketch. 


238 

PALE  (von),  Dusseldorf. 

Landscape. 


83 


239 


PERBAUDT,  Dusseldorf. 

Landscape. 

If 

240 

PERLANDS  (FRAULEIN,  von),  Dusseldorf. 

Landscape. 

30 

241 

P  H I L  L I P  P I ,  D  usseldorf. 

At  the  Well. 

A  vigorous  sketch  of  an  Italian  girl,  waiting  the  filling  of  her  pitcher 
at  a  well. 

if 

242 

PLASEPKE  (M.)  Dusseldorf 

Landscape. 

Iq5 

243 

PLASTNER  (H.),  Dusseldorf 

The  Young  Visitor. 

POHLE  (F.) 


244 


Leimburg  au  der  Lenne. 

An  imposing  view  of  one  of  the  historic  structures  of  Germany  on 
the  banks  of  the  Lenne,  with  a  picturesque  old  mill  at  the  foot 
of  the  rocks  in  the  middle  distance ;  and  in  the  foreground  chil¬ 
dren  fishing  in  the  mill  stream.  Pleasing  in  color. 


245 

POST. 

Farm  Scene. 


A  very  picturesque  view  of  farmhouse  on  the  bank  of  a  river,  with 
old  woman  seated  at  the  door,  and  in  the  foreground  ducks  and 
ducklings  in  the  pool. 


246 

PREYER  (ERNEST), 

Landscape. 


Dusseldorf.  » 

70 


247 

PREYER  (PAUL),  Dusseldorf.  __ 

6  S' 

Young  Soldier. 

A  very  careful  and  pleasing  little  gem,  depicting  an  incident  of  child- 
life  during  war  time. 


85 


RAVEN  (von), 


248 


Dusseldorf. 

Landscape. 


249 

RICHTER  (FRAU LEIN),  Dusseldorf. 


Mamma’s  Pet. 

Good  study  of  a  head  ;  expressive  face. 


250 

RISSE  (R.),  Dusseldorf. 

Italian  Woman. 


M  0 


251 

ROTH  EL  (O.),  Dusseldorf. 

Woman  Readme. 


252 

SANDERLAND  (FR.),  Dusseldorf. 


Decapitated. 

The  well-told  story  of  a  great  family  misfortune. 
86 


253 

Dusseldorf. 


4 


SARTER, 


Mischief. 


A  little  fellow  in  a  conservatory  grappling  for  gold  fish  ;  with  the 
cat  waiting  for  a  prize.  The  story  is  well  told,  and  the  color  bright 
and  pleasing. 


2  54 

SCHAFFER,  Dusseldorf.  .  - 

Fruit  and  Drinking  Cup. 

A  very  careful  and  effective  painting;  the  drinking  cup  nicely  mod¬ 
elled  and  painted,  and  the  fruit  luscious  and  rich  in  color. 


255 

SCHEUENBERG,  Dusseldorf. 

/£> 

A  Sketch. 


256 

SCHMIDT  (ED.  ALLEN)  Dusseldorf. 

Grandfather.  ^ 


A  very  delicately  finished,  nicely  modelled,  and  expressive  head  of  an 
old  man. 


87 


J 

\ 


257 

SCHMIDT  (ED.  ALLEN),  Dusseldorf. 

Thinking  About  It. 

An  exquisite  little  picture,  finished  witli  the  utmost  delicacy,  and 
very  beautiful  in  color.  A  gem  in  this  collection. 

if 

258 

SCHNEIDER,  Dusseldorf. 

The  Beer  Drinker. 

259 

SCHROEICH,  Dusseldorf. 

Landscape 

If 

260 

SCHROER  (G),  Dusseldorf 

Swiss  Village. 

261 

SCHUTAK. 

The  Pets. 

88 

SDEVER, 


262 

Dusseldorf. 


Christ  and  the  Angels. 


A  luminous  sketch  ;  rich  in  color,  and  suggesting  a  fine  subject  for  a 
larger  picture. 


263 

SELL,  Dusseldorf. 


The  Bivouac. 


264 

SIEGERT  (A.),  Dusseldorf 

Going  to  Church. 


776 


A  very  pleasing  specimen  of  this  artist ;  giving  us  grandmother  on 
her  way  to  church.  The  face,  as  may  be  always  said  of  those  by 
the  artist,  is  full  of  expression,  suggesting  a  peaceful  old  age  and 
religious  feeling. 


265 

S I M  M  LER  (W.),  Dusseldorf. 


The  Brook’s  Bed. 


A  very  pleasing  bit  of  nature  ;  trees  carefully  painted,  and  nice  effect 
of  light  and  shadow.  This  is  One  of  the  most  pleasing  pictures  in 
the  Dussddorf  collection. 


89 


266 


SIMMONpS,  Dusseldorf 

Head  and  Bust  of  a  Girl. 

Face  very  delicately  painted.,  and  pleasing  in  expression. 

5<f 

267 

SOHN  t  Prof.  W  ),  Dusseldorf. 

Study  of  Head. 

/S° 

268 

SOXDERLAXD.  Dusseldorf 

In  Trouble. 

This  is  a  capital  little  bit  of  musy  humor.  suggesting  a  big  cry,  about 
as  well  as  this  could  be  done  on  canvas. 

5  S' 

269 

SOYPPAL  (M.),  Dusseldorf 

The  Poacher. 

A  good  characteristic  head. 

its 

270 

STAMMEL  (E.),  Dusseldorf. 

The  Study. 

• 

This  is  a  fine  example  of  this  artist.  The  face  very  expressive  of  age 
and  good  humor :  color  quiet  and  pleasing. 

90 

271 

STEINEKE  (H.),  Dusseldo?£ 

Bv  the  Lake  Side. 


30 


STUMMEL, 


272 

Dusseldort 


Italian  Mother. 


/  0 


STURM, 


2/3 

Dusseldorf. 

Marine  View. 

Morning  effect. 


STURM, 


274 

Dusseidort 

Marine  Mew. 

Twilight  effect :  quite  brilliant 


/ 


<y0 


275 


SUSS(G.)»  Dusseldort 

The  Noisy  Call. 


//o 


A  good  kitchen  interior,  invade!  by  a  rooster:  the  bird  quite  i  bril¬ 
liant  object  in  the  sunlight. 


91 


TANNERT  (L.), 


Dusseldorf. 


Visit  of  the  Toy  Dealer. 

A  very  pleasing  little  picture,  telling  tlie  story  of  a  welcome  visit. 
The  toymaker  lias  just  arrived,  laden  with  his  wares,  and  the  chil¬ 
dren  are  in  raptures  over  the  droll  charms  of  a punchinello.  The 
grouping  is  nicely  managed  ;  the  faces  very  expressive,  and  each 
detail  of  the  picture  painted  with  the  greatest  care.  A  most  de¬ 
sirable  little  picture. 


277 

TOUSSAINT  (L.),  Dusseldorf. 

The  Young  Fisherman. 

The  figure  of  a  boy  who  has  j  ust  hooked  his  prize  ;  quite  briliiant  in 
color. 


278 

WAGNEk  (C.),  Dusseldorf. 

The  Smoker. 

A  vigorous  study  of  an  old  man,  smoking  while  reading  a  newspaper. 


279 

WERNER  OH.),  Dusseldorf. 


At  the  Fountain. 

An  attractive  little  picture  of  two  children  at  a  fountain  ;  pleasing 
in  study  and  effective  in  color. 

92 


28o 

WILLROIDER,  Dusseldorf 

Landscape. 


34 


281 


VVINNEBERG, 


Dusseldorf. 


The  Guitar  Play  er. 


An  excellent  study  of  a  musician  singing1  to  his  guitar  ;  low  in  tone. 


93 


Water-Iolor  Paintings  and  -Drawings. 


282 

ACHENBACH  (Prof.  O.),  Dusseldorf. 


Eastern  Scene. 


A  very  brilliant  sketch  by  this  great  master;  luminous  and  rich  in 
color  ;  figures  full  of  motion  ;  rock  painting  strong  and  effective  ; 
admirable  atmospheric  effect. 


283 

BEN  DEMAN  N  (Prof.),  Dusseldorf. 

St.  Elizabeth. 

A  very  able  sketch,  telling  of  the  charity  of  the  good  St.  Elizabeth 
of  Thuringen.  The  fire  in  the  distance  suggests  a  burning  city  ; 
thus  the  subject  is  symbolic  of  the  Chicago  disaster. 


284 

BLANK  ARTZ,  Dusseldorf. 

Water-color  Drawing. 


285 

BROMEYER  AND  KRAUS, 

LS 


Dusseldorf. 


94 


The  Confidential  Walk. 


BUDE  (W.), 


Dusseldorf. 


Madonna. 


The  Virgin  and  child,  effectively  painted,  against  gold  background  ; 
with  seraphim. 


HASSE  (von), 


287 

Dusseldoif. 


The  Faggot  Gatherer. 


A  careful  study  in  crayon  for  a  painting ;  the  subject  a  poor  woman 
caught  trespassing  in  a  forest,  with  the  keeper  entering  his  com¬ 
plaint. 


288 

HUN  HER,  Dusseldorf.  j 

/£ 

The  Exploded  Shell. 

« 

A  vigorous  sketch. 


289 

JUTZ,  Dusseldorf. 

Ducks  and  Ducklings. 


A  very  beautiful  painting  in  Indian  ink,  on  porcelain,  of  ducks  and 
ducklings,  in  the  long  grasses  near  a  pool.  This  is  a  choice  exam¬ 
ple  of  an  artist  eminent  for  his  treatment  of  such  subjects. 

95 


w 

290 

KNAKFUST,  Dusseldorf. 

Pencil  Drawing. 

J  Girl  presenting  a  drinking  liorn  to  a  German  soldier  of  the  olden  time. 

)U-° 

291 

KNAUS  (Prof.),  Dusseldorf. 

Turkos. 

A  vigorous  crayon  drawing  ;  the  figure  of  the  Turko  well  posed,  and 
face  expressive ;  in  the  distance  the  encampment  is  suggested, 
with  soldiers  gambling. 

fD 

292 

KNAUS  (Prof.),  .  Dusseldorf. 

Peasant  Girl. 

Another  able  drawing  by  the  same  master. 

CfO 

293 

LERCHE  (H.),  Dusseldorf, 

Wine  Cellar. 

A  painting  in  water  colors,  and  the  most  attractive  and  thoroughly 
satisfactory  in  story,  treatment  and  color  in  the  entire  collection. 

ft  S’ 

294 

NIENTSWOK,  Dusseldorf. 

Hauling  Ashore. 

A  vigorous  drawing  in  Indian  ink,  with  horses  hauling  a  schooner 
ashore;  motion  of  figures  and  animals  well  expressed. 

96 

295 

NITROTOWSKY  (FL.),  Dusseldorf 

Illuminated  Verse. 


296 

PASE,  Dusseldorf. 

Coming  Home. 

A  very  careful  and  delicate  pen  and  ink  drawing. 


297 

SCHEUREN  (Prof.),  Dusseldorf. 

Chicago  and  Dusseldorf. 


298 

STRAUB,  Dusseldorf. 


The  Virgin  at  the  Sepulchre. 


A  very  delicate  and  beautiful  crayon  drawing,  replete  with  religious 
feeling 


299 

\  OLKERS,  Dusseldorf. 

Water-color  Painting. 

c!> 

German  prince  on  horseback,  with  staff  in  distance. 


97 


The  contributions  of  Messrs.  Camphausen,  Gertz, 
Stang,  Jansen,  Barthelmeo,  Bosch,  Schulte, 
Droger,  V on  Mille,  Mengelborg,  Scheuren, 
Glaser,  Schulgen,  Sell,  Von  Pale, 

Crola,  and  Henrici. 

- - - - - - 

LOT 

1  Two  large  Mezzotints,  after  Gertz. 

2  Annunciation  (line),  after  Deger. 

3  Four  (line),  after  Bosch  ;  subjects 

various. 

4  One  (line),  after  Schrader. 

5  One  (line),  after  Siegert. 

6  Four,  Woodcut,  Lithograph,  and 

Mezzotint. 

-  -  ••  '  -  •  u. 

7  Three,  after  Siegert  and  Hasenclever. 

98 


LOT 

8  Four,  after  Meyer,  von  Bremen, 

Tiedeman,  and  Lessing. 

9  Four  fine  Lithographs,  after  Camp- 

hausen. 

10  Five  Photographs  and  two  Litho¬ 

graphs,  after  Camphausen. 

1 1  Five,  after  Vautier,  Roth,  and  others. 

1 2  One  large  Lithograph  —  F  rederick 

the  Great — after  Camphausen. 

13  Luther  burning  the  Popes  Bull, 

after  Lessing. 

1 

14  Christ  carrying  Cross,  after  P.  Ver¬ 

onese. 

15  Two  Lithographs,  after  Bosch. 

16  Nineteen  Lithographs,  after  Meyer- 

berg  (same). 


99 


1 7  Book  of  Etchings,  after  Dusseldorf 

masters. 

1 8  Tiddemans  Illustrated  Norway. 

1 9  I  lluminated  T exts  by  M  me.  Schrader. 


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